Eileen Jones is a film critic at Jacobin, host of the Filmsuck podcast, and author of Filmsuck, USA.
From the depths of August’s cinematic dumping ground comes The Crow, a dreary reboot of the classic 1994 Brandon Lee film, reviled by critics and loaded with lurid CGI and occult hooey. Save yourself the ticket price — better films are on their way.
If you guessed that our film critic Eileen Jones would hate Alien: Romulus, buddy, you guessed wrong. The corporate manipulation and betrayal in the Alien films don’t lose their fascination over the course of their many variations.
Borderlands is officially a box office disaster. Even Cate Blanchett can’t save it.
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’s cynical mocking of all things Marvel is its secret weapon. No wonder it’s making a killing at the box office.
In Twisters, Glen Powell, Hollywood’s newest MVP, spins a formulaic script into good old-fashioned summer box office gold.
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.
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.
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.
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.
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.
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 Hollywood’s summer profit margins. Too bad it’s just another bland depiction of the Pixar Child’s inner life.
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.
Anya Taylor-Joy revs up her engines for Furiosa, but this Mad Max prequel is running on fumes.
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.
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 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.
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.
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.