‘Book Club’ Film Review: Women-of-a-Certain-Age Sex Comedy Has Poignancy Beneath the Pratfalls
The men are fine, but more scenes with just the quartet of powerhouse actresses would have been even better
movie reviews
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‘At War’ Film Review: Vincent Lindon Improvises His Way to the Front of the Cannes Best Actor Race
Cannes 2018: Lindon stars in French director Stephane Brize’s escalating tale of futile anger and post-globalized doom
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‘That Summer’ Film Review: Little Edie at Grey Gardens, Before ‘Grey Gardens’
A fascinating look at an aborted documentary project that led to the legendary film about Jackie Kennedy’s “eccentric” relatives
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‘The House That Jack Built’ Film Review: The Real Shocker Is How Dull Lars von Trier’s Film Is
Cannes 2018: Lars von Trier’s gleeful look at a sadistic killer is actually boring when it isn’t grossing you out
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‘Deadpool 2’ Film Review: Ryan Reynolds Gives His All to a Joke Told the Second Time
The laughs and the action are still there, but not the ante-upping that makes a comedy sequel rise above
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‘Asako I & II’ Film Review: Leisurely Japanese Drama Explores Nature of Love
Cannes 2018: director Hamaguchi Ryusuke tells story of a young woman whose first love abandons her, so she finds another man who looks just like him
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‘Happy as Lazzaro’ Film Review: Alice Rohrwacher Charts the Course of a Holy Fool
Cannes 2018: Rohrwacher’s fable, the second of this year’s competition films from a female director, is both transporting and maddening
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‘Climax’ Film Review: Is It a Movie, or an LSD Trip?
Cannes 2018: Director Gaspar Noé unleashes a troupe of Europe’s most nimble dancers to vogue you, krump you and pop-lock you through one very bad trip
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‘Three Faces’ Film Review: Once Again, Jafar Panahi Is Modest But Profound
Cannes 2018: The Iranian director is officially forbidden from making films for 20 years, but “Three Faces” is the latest exceptional work he’s made in the face of that ban
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‘Girls of the Sun’ Film Review: A Middle Eastern Feminist Hero Slays ISIS
Cannes 2018: The story of a female Kurdish unit brings to vivid life the stories we have all read but found so hard to imagine
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‘The World Is Yours’ Film Review: Romain Gavras’ Pop Comedy Is an Absolute Blast
Cannes 2018: Music-video director Romain Gavras has created a “Blues Brothers”-like jaunt for a generation raised on Adderall and French hip hop
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‘To the Ends of the World’ Film Review: At Last, Here’s France’s Vietnam War Movie
Cannes 2018: Guillaume Nicloux brings a touch of European art film to the conflict that has inspired American films like “Platoon” and “Apocalypse Now”
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‘Girl’ Film Review: Transgender Teen Drama Is a True Cannes Discovery
Cannes 2018: The gentle but wrenching film about a teenager who “just wants to be a girl” is the first work from 26-year-old Belgian director Lukas Dhont
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‘Ash Is Purest White’ Film Review: The Characters Have Growing Pains, and So Does China
Cannes 2018: Like director Jia Zhang-Ke’s previous films, this one argues that China’s rapid economic rise has hardly benefited its numerous inhabitants
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‘The Image Book’ Film Review: Once Again, Jean-Luc Godard Messes With Viewers’ Heads
Cannes 2018: The 87-year-old director’s newest film is an essay in sound and picture and an assault on the idea of cinema and, sometimes, on the viewer
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‘Lu Over the Wall’ Film Review: Wild Mermaid Anime Defies Categorization
This vividly realized animated fantasy keeps changing tone and mood faster than many audiences will be able to follow
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‘Birds of Passage’ Film Review: You’ve Never Seen a Gangster Movie Like This Before
Cannes 2018: Ciro Guerra’s followup to the Oscar-nominated “Embrace of the Serpent” aims to expand the gangster genre
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‘Cold War’ Film Review: Romance in Postwar Europe Is Ravishing and Haunted
Cannes 2018: Polish director Pawel Pawlikowski returns to Europe in the aftermath of World War II in his first film since the 2013 Oscar winner “Ida”
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‘The Seagull’ Film Review: All-Star Cast Flourishes in Chekhov Adaptation
Annette Bening and Elisabeth Moss are just two of the performers who strike the right notes in this sumptuous screen version
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‘Terminal’ Film Review: Margot Robbie’s Silkiness Wasted in Polyester Movie
There’s a lot of look, and plenty of cinematic allusions, in this hit-woman tale, but it’s ultimately just twaddle
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‘Border’ Film Review: Are Moviegoers Ready for Hot, Hairy Troll Sex?
Cannes 2018: Director Ali Abbasi delivers a formidable load of WTF with a work that’s part horror film, part allegory about our fear of outsiders
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‘Revenge’ Film Review: Female-Gaze B-Movie Thriller Earns an A for Execution
Coralie Fargeat’s vengeance drama is blood-soaked and stylish — and in Matilda Lutz’s hands, revenge is sweet, indeed
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‘Life of the Party’ Film Review: Melissa McCarthy Goes to College, But This Class Is Easily Dismissed
McCarthy is still a queen of comedy, but this third teaming with writer-director husband Ben Falcone is another sloppy, unworthy vehicle
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‘Breaking In’ Film Review: Gabrielle Union Battles Burglars and Script Limitations
Union’s ingenious mom protects her kids from home intruders, but the character’s personality is as barren as the minimalist decor
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‘Sorry Angel’ Film Review: AIDS Drama Explores the Quiet Places
Cannes 2018: Christophe Honoré’s willfully unsentimental character study is the flip side to last year’s grand prize winner, “BPM”
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‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream
Cannes 2018: Russian director Kirill Serebrennikov tells the story of musician Viktor Tsoi in a way that is messy, surreal and ultimately moving
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‘Yomeddine’ Film Review: First Time’s a Charmer for Egyptian Drama
Cannes 2018: Rookie director A.B. Shawky’s road film about an unlikely pair fleeing a leper colony and an orphanage is the rare Cannes film best described as “sweet”
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‘Everybody Knows’ Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years
Cannes 2018: Asghar Farhadi’s dark drama stars Penelope Cruz and Javier Bardem, who have rarely gone to these emotional extremes in their work together
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‘Bad Samaritan’ Film Review: Thief vs. Serial Killer Tale Lacks Excitement
Dean Devlin’s latest lacks the trashy thrills of “Geostorm,” even with a homicidal David Tennant as a bad guy
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‘Tully’ Film Review: Charlize Theron Is a Real Mother in Bleakly Hilarious Parenthood Tale
Third collaboration between screenwriter Diablo Cody and director Jason Reitman strips the sentimentality from mommyhood
