A film review of 'Big Girls Don't Cry' directed by Paloma Schneideman and starring Ani Palmer as part of our Sundance 2026 coverage.

A film review of 'The Last First: Winter K2' directed by Amir Bar-Lev as part of our Sundance 2026 coverage.

Tom Cruise plays an oil baron in Iñárritu's climate satire 'Digger', a 128-minute farce that mistakes cynicism for insight and rarely digs up laughs.

A film review of 'The Incomer' directed by Louis Paxton and starring Domhnall Gleeson as part of our Sundance 2026 coverage.

Brad Pitt and a remarkable dog named Odin cross 60 miles of Alaskan wilderness in David Ayer's lean, handsome survival thriller 'Heart of the Beast.'

A film review of 'Ha-Chan Shake Your Booty' directed by Josef Kubota Wladyka and starring Rinko Kikuchi as part of our Sundance 2026 coverage.

Robert Pattinson plays Chris Hansen in Primetime, a sharp-cast look at To Catch a Predator that interrogates its makers but lets its viewers off easy.

The best video game adaptation yet. Zach Cregger's 'Resident Evil' is a repulsive, zippy horror comedy that finally gets what makes the games work.

A film review of 'The Weight' directed by Padraic McKinley and starring Ethan Hawke and Russell Crowe as part of our Sundance 2026 coverage.

'The History of Concrete' finds John Wilson stretching his distinctive 'How To' documentary style to feature length, with plenty of oddball detours but perhaps diminishing returns.

A film review of 'If I Go Will They Miss Me' directed by Walter Thompson-Hernández as part of our Sundance 2026 coverage.

Na Hong-jin’s 'Hope' is a berserk, funny, gnarly alien invasion epic packed with killer set pieces, memorable monsters, and one very frustrating cliffhanger.

Adam Wingard gets back to his lean, nasty genre roots with 'Onslaught', a bloody grindhouse throwback powered by Adria Arjona, Dan Stevens, and killer sound design.

'Buddy' turns the cheerful weirdness of ’90s children’s TV into a funny, gnarly slasher packed with foam mascots, practical effects, and splattery imagination.

Macon Blair’s 'Idiots' is a funny anti-buddy road comedy powered by Dave Franco going ape, even if it feels a few big laughs short of a full tank.

'Ridley Scott’s 'The Dog Stars is a visually stunning post-apocalyptic drama about grief, survival, and the search for something worth living for.

'Tony' is an intimate, beautifully acted coming-of-age portrait of a young Anthony Bourdain, tracing the transformative summer that shaped the chef, writer, and storyteller he would eventually become.

Jane Schoenbrun’s 'Teenage Sex and Death at Camp Miasma' is a deeply meta queer slasher whose ideas eventually overwhelm its plot and emotional reality.

'Spider-Man: Brand New Day' shattered box-office records and exposed the truth about superhero fatigue: audiences still show up for craft, scale, and genuine theatrical events.

Gregg Araki talks queer joy, incel culture, Olivia Wilde’s fearless performance, and why I Want Your Sex should spark arguments instead of lectures.

Gregg Araki’s 'I Want Your Sex' is a colorful, provocative erotic thriller about desire, submission, workplace power, and the dangerous line between fantasy and exploitation.

With new powers come new responsibilities in 'Spider-Man: Brand New Day', an imperfect but purposeful MCU sequel that lets the spider consume the man.

I walked out of Nicolas Winding Refn’s 'Her Private Hell' after 35ish excruciating minutes. Here’s why its stilted, neon-soaked anti-entertainment drove me away.

Christopher Nolan's The Odyssey transforms Homer's ancient epic into a sweeping, monster-filled adventure, even if the director's tendency to over-explain keeps it from reaching true greatness.

'Evil Dead Burn' may be the franchise's meanest installment yet, pairing outrageous gore with a brutal examination of domestic abuse and the violence that families inherit.

A film review of 'Night Nurse' directed by Georgia Bernstein and starring Camre Paksoy as part of our Sundance 2026 coverage.

Milly Alcock shines as a damaged, universe-weary Kara Zor-El in 'Supergirl' but this second DCU installment too often leans on familiar sci-fi superhero storytelling.

Olivia Wilde on directing and starring in 'The Invite', ENM relationships , and being talked into the role by Penelope Cruz, Seth Rogen, and Edward Norton.

Michael Sarnoski's 'The Death of Robin Hood' strips away the outlaw's legend to reveal a haunting meditation on violence, redemption, and the stories we tell to survive our sins.

'Toy Story 5' is a funny, heartbreaking, and insightful meditation on childhood in the digital age, asking what gets lost when screens begin replacing imagination.

Adrian Chiarella's 'Leviticus' is an unsettling queer horror film that channels 'It Follows' while exploring conversion therapy and budding LGBTQ identity.

A movie about proving aliens exist shouldn't be this boring. Despite moments of Spielbergian awe, 'Disclosure Day' struggles under the weight of an overlong and frustrating screenplay.

Daniel Roher's 'Tuner' transforms a clever safe-cracking premise into a thrilling, emotionally resonant story about finding purpose in disability.

A24’s 'Backrooms' is a deeply unsettling Lynchian horror film from Kane Parsons that weaponizes liminal spaces and existential dread.

'The Mandalorian and Grogu' isn't a movie, it's barely even content. Favreau and Filoni deliver a creatively bankrupt non-event that may have killed my love of Star Wars.

Taratoa Stappard’s 'Mārama' filters familiar gothic horror through a pointed Māori cultural lens, with rage-fueled subtext that cuts deeper than its scares.

A darkly funny and legitimately chilling horror-comedy, 'Obsession' twists romantic fantasy into a nightmare of control, led by a fantastic Inde Navarrette.

Is God Is is a terrible movie title, of this I have no doubt. The name implies a religious element that  isn’t there, while also sounding like a grammatical nightmare. The debut feature from playwrigh...

'The Friend's House' is an intimate slice-of-life portrait following two close friends navigating defiance, friendship, and censorship in Tehran's underground art world.

The Ascent is a hybrid climbing documentary and true-crime portrait following Mandy Horvath’s harrowing journey up Mount Kilimanjaro and toward reclaiming her identity.

SIFF 2026 rolls into Seattle next month with its usual sprawling, borderline-unruly lineup — hundreds of films from dozens of countries crammed into Our most anticipated films of SIFF 2026 - from Oliv...

A movie review of 'Send Help' directed by Sam Raimi and starring Rachel McAdams and Dylan O'Brien.

A James Cameron–shot 3D Billie Eilish concert film that buries her vocals under fan screams and turns the worst part of a concert into the main attraction.

There’s a special kind of obnoxious nothingness to the way people talk about “world peace.” Not the wanting of it. Wanting world peace is fine, obviously. It’s the framing that gets under the skin: th...

'The Devil Wears Prada 2' reunites Streep, Hathaway, Blunt, and Tucci, but trades the original's sharp tension for dull boardroom drama.

Damian McCarthy's 'Hokum' lands Adam Scott in his first horror role for a guilt-soaked Irish folk chiller that's heavy on atmosphere and light on originality.