Lin-Manuel Miranda directs a heartfelt tribute to Jonathan Larson that’s almost too much.
Its greatest achievement is that it’s better than ‘Death Note.’
Tessa Thompson and Ruth Negga are marvelous in this strikingly modern film about “passing” as white in the 1920s.
Jeymes Samuel’s directorial debut is a worthy addition to shamefully sparse film canon, with stylish direction and excellent performances.
If you can make it past the overwrought writing and unwavering pretentiousness, you will witness two of Hollywood’s most promising talents.
With many of the contenders available, and the closing of the Oscar eligibility period weeks away, here are my early predictions.
Vanessa Kirby and company give powerful performances, but this film about loss gets lost itself.
The screen adaptation is almost too faithful to August Wilson’s play, but any tension melts away when a luminous Chadwick Boseman and fiery Viola Davis enter the frame.
Armie Hammer and Lily James fail to justify this remake of the Alfred Hitchcock classic.
Aaron Sorkin’s retelling of the notorious Chicago Seven trial both succeeds and struggles because of its timeliness.
The follow-up to ‘The Haunting of Hill House” packs a wallop; it’ll just take some time to get there.
COVID-19 has created the largest captive audience in modern history; movie studios shouldn’t squander it.