From staging its emotional finale to deploying AI-generated simulations of Anthony Bourdain’s voice, Roadrunner’s director has undercut the reliability of the entire project.
Eileen Jones is a film critic at Jacobin and author of Filmsuck, USA. She also hosts a podcast called Filmsuck.
In the 1970s, sports movies were funny, bitter comedies about working-class jocks taking aim at both the front office and the rich.
Black Widow is a dumb movie that recycles the same Russophobic Cold War narrative Hollywood has been using for years. But it’s just dopey enough and supplies just enough laughs that I couldn’t be mad at it.
With historic performances by everyone from Stevie Wonder and Gladys Knight to Nina Simone and Sly and the Family Stone, Questlove’s documentary about the 1969 Harlem Cultural Festival is a moving portrait of black music and a radical political and cultural moment.
Pixar’s latest film, Luca, is so chock-full of twists and turns, it reveals just how much that once-little animation studio has helped shape our current “bingeworthy” narrative standard.
The controversy over casting in Lin-Manuel Miranda’s musical In the Heights obscures just how dull the film really is.
The sequel to John Krasinski and Emily Blunt’s horror-thriller A Quiet Place can’t deliver the same surprises as the original. But it still works.
Disney has rebooted their legendary dalmatian-skinning villain, Cruella de Vil — and turned her into a scrappy, likable hero. The result is the complete mangling of one of the greatest Disney villains of all time.
You wouldn’t know it from the whitewashed image of her as an angelic, unthreatening icon, but Helen Keller — yes, that Helen Keller — was a socialist.
Ryan Murphy’s new Netflix limited series on the 1970s fashion icon Halston is yet another showcase not only for Murphy’s trademark bright and glossy style but also his contempt for the unglamorous rabble.
Thomas Vinterberg’s Oscar-winning Danish drama Another Round celebrates the ways in which alcohol can bring joy to a midlife crisis — but there’s no way the coming Hollywood remake can avoid American moralism.
HBO’s Mare of Easttown is constructed around a familiar, virtually surefire plot: a shocking crime in a small town leads to an investigation that ultimately reveals every major local scandal in an astoundingly errant community. And it works.
Hulu’s docuseries Sasquatch uses Bigfoot as a hook to zero in on an unsolved 1993 triple homicide in the weed empire of Northern California. The series has some compelling material to work with — which it proceeds to squander.
Raoul Peck’s HBO docuseries Exterminate All the Brutes isn’t easy to watch — but it’s important popular education on the 600-year development of the concept and system of white supremacy associated with colonialism, slavery, and genocide.
The mystery of Agatha Christie’s enduring popularity is rooted in a nostalgia for the certainties of the Victorian class system.
Minari is a gentle, universal story about a resilient South Korean family trying to make it in 1980s America. You should watch it.
Ken Burns and Lynn Novick’s PBS docuseries Hemingway sheds new light on writer Ernest Hemingway’s life. But it leaves out key details of his left-wing political convictions — including the FBI surveillance that haunted him until his suicide.
After a long internet campaign demanding its release, HBO Max has unleashed Zack Snyder’s Justice League on the world. But it’s four hours of tedious superhero melodrama you’ll never get back.
Jessica Walter thankfully found fame through roles like Arrested Development’s Lucille Bluth late in her life. But she should’ve been a major star when she was a young woman. Hollywood’s misogyny in the 1960s and ’70s made that impossible.
Eddie Murphy is one of the most talented actors alive. Yet his brilliance is wasted in this sloppy sequel to the classic 1988 film Coming to America.