Film

Andrew Garfield

There is a wonderful eagerness with which Sam — Andrew Garfield (“Breathe”) at a career high — accepts the miraculous nonsense of “Under the Silver Lake.” His refusal to spend more than one perfect facial reaction questioning the bombardment of bizarre is, in large part, why director David Robert

Blackkklansman

There are Trump-era movies. The sort of wink-wink-nudge-nudge, did-you-notice-that-Make-America-Great-Again-reference movie that tries too hard for its social commentary and relies too heavily on the crutch of cautionary tale. (Your “Fahrenheit 451”s and “Suburbicon”s.)

Deadpool 2

If Deadpool were to watch “Deadpool 2,” he would likely have a number of issues with it. His first might be why the film kills off the impetus for the first film’s entire plot in the first ten minutes. Another would be why a comedy movie has so many scenes devoid of comedy.

Le Beau Serge

The watch list for any academic film course almost always rounds out to something like: a Chaplain comedy, some Technicolor musical, four impenetrable foreign films, two other silent-era juggernauts and Citizen Kane.

RBG

With big folks, either people think you look mean or it’s more of a jolly Santa Claus, ‘Oh, he’s just a pudgy little teddy bear pillow.’ —The Notorious B.I.G.

Breaking In

“Breaking In” is not as painful a movie as it has been framed to be. In fact, coming in with modest expectations, viewers will likely find the film not nearly as torturous and dull as described by reviewers.

Fahrenheit 451

Just five minutes into “Fahrenheit 451” it’s clear this isn’t Ray Bradbury’s world anymore.

Ash is Purest White

At its best, “Jiang Hu Er Nv (Ash is Purest White)” is quietly sublime. Director Jia Zhang-Ke captures (with support from Cinematographer Eric Gautier) a tremendous solitude as he follows his protagonist across the Chinese countryside.

Everybody Knows

“Everybody Knows” (Todos Lo Saben) is an exceptionally good telenovela.

Leto

The requiem for the local scene — the underground scene, the house show scene, the “we’ll never be big, that’s okay we just want to be” scene — is the greatest kind of music movie. To perfectly encapsulate how a specific moment in a specific place looked and sounded is one thing.