After taking a sharp detour into directing the biographical sports drama Air for a change, actor-director Ben Affleck returns to his familiar comfort zone in helming a political crime thriller with mixed results.
Her Private Hell is a frustrating return for Nicolas Winding Refn, pairing a striking futuristic world with a story that struggles to justify its runtime.
David Ayer trades his usual narrative-heavy filmmaking for a stripped-down tale of a man and a dog surviving the brutal Alaskan wilderness, with mostly successful results.
After six movies starring Milla Jovovich and an ill-fated Johannes Roberts-directed reboot, it finally took Zach Cregger to get it right.
Bad Apples is a delicious dark comedy that turns an outrageous situation into something surprisingly thought-provoking.
Eschewing the typically big-budget Hollywood blockbuster route associated with such a movie, Ridley Scott’s latest directorial effort prioritizes a deliberate slow-burn for a change.
Beyond the occasional visual and tonal missteps, a handful of narrative snags prevent The End of Oak Street from reaching its full potential.
Instead of a go-big-or-go-home approach in the traditional blockbuster sequel formula, Destin Daniel Cretton opts for more personal stakes in this latest Spider-Man movie.
Writer-director Christopher Nolan takes Homer’s Odyssey poem and turns it into a cinematic marvel that combines visceral ancient fantasy and horror-movie tropes with intimate character-driven drama.
The film teeters on the edge of boring as the audience watch something play out that’s familiar, losing all its magic and heart along the way.