Borderlands Bombs Out
Borderlands is officially a box office disaster. Even Cate Blanchett can’t save it.
342 Articles by: Eileen Jones
Eileen Jones is a film critic at Jacobin, host of the Filmsuck podcast, and author of Filmsuck, USA.
M. Night Shyamalan Falls Into His Own Trap Once Again
Trap is a deeply silly thriller — and further proof that writer-director M. Night Shyamalan is among the most uneven filmmakers in the history of the medium.
Deadpool & Wolverine Gleefully Skewers the Marvel Universe
Deadpool & Wolverine’s cynical mocking of all things Marvel is its secret weapon. No wonder it’s making a killing at the box office.
Glen Powell Chases Down Twisters
In Twisters, Glen Powell, Hollywood’s newest MVP, spins a formulaic script into good old-fashioned summer box office gold.
Fly Me to the Moon Crashes Back Down to Earth
Channing Tatum and Scarlett Johansson try to win the 1969 space race in Fly Me to the Moon. But its heavy-handed history lessons ruin the fun.
Kinds of Kindness Is Teenage Nihilism for the Art House Crowd
Yorgos Lanthimos’s Kinds of Kindness is a nearly three-hour anthology film about the human capacity for cruelty. It’s exactly as fun as that sounds.
Kevin Costner’s Horizon Is as Bad as You’ve Heard
Supposedly the first of four films, Kevin Costner’s dull and messy Western throwback, Horizon: An American Saga – Chapter 1, is almost certainly dead on arrival.
Elaine May Is the Greatest Director You’ve Never Heard Of
A new biography of writer-director-performer Elaine May makes a strong case for her canonization as one of our greatest comic talents. Unfortunately, Hollywood never knew what to do with her.
The Bikeriders Is Running on Fumes
Jeff Nichols’s The Bikeriders coasts on Austin Butler’s outlaw charm and an excellent performance from Tom Hardy. But neither can get this nostalgia piece into third gear.
RIP Donald Sutherland, a Hollywood Legend
Donald Sutherland (1935–2024) projected equal parts warmth, intelligence, and menace on the big screen. But he wasn’t just a brilliant actor — he was a man of the Left who never abandoned those values.
Inside Out 2 Just Saved the Summer Box Office
Inside Out 2 just saved Hollywood’s summer profit margins. Too bad it’s just another bland depiction of the Pixar Child’s inner life.
Hit Man Is a Glen Powell Rom-Com Turned Film Noir
Richard Linklater’s new film, Hit Man, works thanks to the star power and charm of Glen Powell. You won’t even mind the not-entirely-convincing film noir twist.
Furiosa Fails the Mad Max Series — and the Summer Box Office
Anya Taylor-Joy revs up her engines for Furiosa, but this Mad Max prequel is running on fumes.
John Krasinski Can Direct Whatever He Wants, I Guess
IF is John Krasinski doing Pixar. If those words make you excited, you’ll enjoy the film. If they don’t, you probably won’t.
The All-American Crack-Up in 1960s Hollywood Cinema
Starting in the 1960s, more and more Hollywood films depicted an increasingly violent and alienated American society quickly losing its mind. It’s hard not to see their relevance to our times.
Kingdom of the Planet of the Apes Isn’t Good, but It’s Not Bad
Kingdom of the Planet of the Apes never hits the highs of its half-century franchise. But the enduring power of the Apes’ postapocalyptic premise will keep us coming back for more.
The Fall Guy Is a Sloppy but Sweet Ode to Hollywood Stuntmen
Ryan Gosling is all charm in the new action-comedy The Fall Guy. It’s overstuffed and uneven, but it’s so upbeat that you won’t even mind.
If Only Challengers Were as Hot as It’s Trying to Be
Luca Guadagnino’s tennis pro drama Challengers is a test of Zendaya’s star power. She passes. But the promised hot-and-heavy love triangle doesn’t deliver.
Guy Ritchie’s Ungentlemanly Warfare Is a Disappointment
The Ministry of Ungentlemanly Warfare is Guy Ritchie’s British twist on the old World War II “man on a mission” flicks. But despite being loosely based on a true story, it plays more like a cartoon.
It’s Impossible to Take Alex Garland’s Civil War Seriously
Civil War imagines a crumbling USA torn apart by militias, a crazed president, and murderous ideological rage. The problem is, director Alex Garland never tells us anything about those ideologies. Because then he might be seen as “taking a side.”