W ithin Guillermo del Toro's ambitious, eccentric Nightmare Alley, two very different movies form an awkward coexistence: For much of its first half, we see the dark, sprawling topography of a…
T he title for CODA is a fascinating play on words: In the context of this film, its most obvious use is an.acronym--Child of Deaf Adults. But a coda is also…
From the opening scene, Spencer announces itself as a sizzling slice of historical fiction. Put another way, this is an imaginative portrait of Princess Diana (Kristen Stewart), painted against the…
A s Good as It Gets provokes a dilemma I've never encountered before: On one hand, it blazes a trail through difficult issues, such as OCD and homophobia, places Hollywood had long…
D espite that title, we never really see the world through the eyes of Tammy Faye Bakker. Instead, the film only serves up a superficial look at the eccentricities we…
W ith The Tragedy of Macbeth, director Joel Coen and his longtime collaborators labor greatly to deliver a fresh take on the Shakespearean behemoth. Coen strips the legendary work down to…
Y our tolerance for this wacky, atmospheric thriller will depend on your affinity for the freewheeling era known as Swinging London. If the thought of a film built around the…
As with Alfonso Cuarón's brilliant Roma, Belfast serves as a conduit for writer-director Kenneth Branagh to explore his own childhood. Both films feature the fading, fragile innocence of youth, juxtaposed with…
F ew TV stars, past or present, could breathe the same rarified air as Lucille Ball and Desi Arnaz. As a power couple, they dominated the Nielsen ratings throughout the…
S ome satires are so precise in their humor, they feel like a ninja catching a gnat with chopsticks. On the other hand, the jokes in Don't Look Up are about…
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