Ellen DeGeneres’s reputation as the kindest celebrity in America has finally been shattered. But it’s not just her “mean streak” that’s the problem — it’s that she’s an exploitative boss, who cheated her employees at the height of the pandemic.
The controversy over the new Netflix movie Cuties is so stupid, you never should’ve heard about it. But it’s gotten so hysterically overblown by this point, it can’t be ignored anymore.
Get Out was a triumph. Antebellum tries to follow in its footsteps, but it completely fails at making a horror movie out of the experience of racism in America.
Spinning comedy out of misery, Joel and Ethan Coen have spent decades telling the story of American failure. No wonder they’re so drawn to American socialists.
Netflix’s new Aaron Sorkin movie on the Chicago Seven tries — and fails — to turn a travesty of justice and an attack on the Left into a defense of American institutions.
Amazon’s Borat sequel tries to replay the zany laughs of the original but picks easy, woke moralizing over funny social satire.
John Carpenter’s movies provide visions of societies falling apart. No wonder his work is resonating now more than ever.
Richard Linklater’s latest autobiographical film, Apollo 10 ½: A Space Age Childhood, is a doting tribute to middle-class family life in the suburbs of Houston. Good luck making it through the whole unbearably sentimental movie in one sitting.
Sofia Coppola’s On the Rocks is yet another meandering depiction of life as a bored and alienated celebrity.
The only good thing we have to say about the reactionary film adaptation of Hillbilly Elegy is that it’s so boringly told you’ll forget about it in an hour.
The first film in Steve McQueen’s new Amazon Prime anthology chronicles the struggle for racial justice in Britain with the 1970s Mangrove Nine trial. It’s a wonderful achievement and valuable popular education on the British struggles against racist policing.
In Pam & Tommy, the story of the infamous Pamela Anderson and Tommy Lee sex tape becomes an epic tale of thwarted American dreams.
David Fincher’s ode to Citizen Kane screenwriter Herman J. Mankiewicz revives an eighty-year-old debate over whether or not Orson Welles deserves a co-writing credit — and it’s exactly as entertaining as that sounds.
The big-budget Wonder Woman sequel is an ugly, tedious, bloated, badly CGI-ed mess and a wretchedly directed film. And yet critics keep making excuses for it because of its supposed social relevance.
Disney Plus’s new Marvel show WandaVision promises a surreal spin on a 1960s sitcom reality. But so far, it’s delivered little more than winks and nods to Marvel Cinematic Universe loyalists.
Chadwick Boseman’s final performance in playwright August Wilson’s new Netflix adaptation of Ma Rainey’s Black Bottom is a haunting but appropriate farewell.
Vice reminds us of the hell Dick Cheney wrought, with help from a rogue’s gallery of perps, hacks, creeps, and fall guys.
The story of Black Panther leader Fred Hampton’s assassination by Chicago Police and the FBI has finally been made into a movie. Judas and the Black Messiah is uneven as a film, but it’s a small step toward a serious reckoning with America’s past.
Ben Stiller’s excellent new limited series, Severance, turns the corporate workplace into the setting for a new and timely subgenre: “job horror.”
Men will literally become Batman instead of going to therapy.