\n<\/p>\n
After the lead of a blockbuster action movie goes missing, his stunt double, Colt Seavers (Ryan Gosling), must try to find him. This action romp includes an impressive array of stunts.<\/p>\n
From our review:<\/p>\n
\nDirected by David Leitch, \u201cThe Fall Guy\u201d is divertingly slick, playful nonsense about a guy who lives to get brutalized again and again \u2014 soon after it starts, Colt suffers a catastrophic accident \u2014 which may be a metaphor for contemporary masculinity and its discontents, though perhaps not. More unambiguously, the movie is a feature-length stunt-highlight reel that\u2019s been padded with romance, a minor mystery, winking jokes and the kind of unembarrassed self-regard for moviemaking that film people have indulged in for nearly as long as cinema has been in existence. For once, this swaggering pretense is largely justified.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
CRITIC\u2019S PICK<\/p>\n
Fresh out of the toaster, a corporate saga.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Unfrosted: The Pop-Tart Story\u2019<\/a><\/span><\/h3>\n
Jerry Seinfeld imagines a heavily embellished version of the invention Pop-Tarts in this kooky comedy. The film also features Melissa McCarthy, Jim Gaffigan and a host of other famous faces.<\/p>\n<\/div>\n<\/div>\n
\n\nFrom our review:<\/p>\n
\nAs junk food goes, \u201cUnfrosted\u201d is delightful with a sprinkle of morbidity. Building on last December\u2019s publicity stunt where an anthropomorphic Pop-Tart cooked and served itself to the Kansas State Wildcats, we\u2019re here treated to a funeral where the deceased is given Full Cereal Honors. I will spoil nothing except to say Snap, Crackle and Pop have a ceremonial duty. The jokes spill forth so fast that there\u2019s no time for the shtick to get soggy.<\/p>\n<\/blockquote>\n
Watch on Netflix<\/em><\/a>. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
It\u2019s not technically<\/em> Harry Styles fan fiction, but it\u2019s close.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018The Idea of You\u2019<\/a><\/span><\/h3>\n
Anne Hathaway stars as Sol\u00e8ne Marchand, a 40-year-old mom who has a chance encounter with a (much younger) member of a wildly popular boy band. The two must navigate the complications of celebrity and romance.<\/p>\n
From our review:<\/p>\n
\nIt\u2019s probably coincidental that \u201cThe Idea of You\u201d comes on the heels of Taylor Swift\u2019s latest album, \u201cThe Tortured Poets Department,\u201d on which she strongly implies<\/a> that her carefully cultivated fandom has made her love life a nightmare. But spiritually, at least, they\u2019re of a piece \u2014 even if the origins of the film\u2019s plot seem as much borne of parasociality as a critique of it. And that makes Hathaway\u2019s performance extra poignant. She\u2019s been dragged into that buzz saw before. And somehow, she\u2019s figured out how to make a life on the other side of it.<\/p>\n<\/blockquote>\n
Watch on Prime Video<\/a>. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
Jeanne du Boring.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Jeanne du Barry\u2019<\/a><\/span><\/h3>\n
The most prominent mistress of King Louis XV, Jeanne du Barry, gets the \u201cgirl boss\u201d treatment in this historical drama written, directed by and starring Ma\u00efwenn alongside Johnny Depp.<\/p>\n
From our review:<\/p>\n
\nThe meticulous and lush production design by Angelo Zamparutti, captured with practically dewy appreciation by the cinematographer Laurent Dailland, makes the movie easy on the eyes, but every so often its prettiness edges over into souvenir-shop kitsch.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
CRITIC\u2019S PICK<\/p>\n
Through the TV looking glass.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018I Saw the TV Glow\u2019<\/a><\/span><\/h3>\n
In this feature from writer-director Jane Schoenbrun, two teenagers bond over their love for a mysterious television show, but the fictional universe starts to feel more real (and less stifling) than their suburban reality.<\/p>\n<\/div>\n<\/div>\n
\n\nFrom our review:<\/p>\n
\nWe\u2019ve forgotten how hard being a fan used to be. You had to labor at it in multiple media: scouring listings and keeping tabs on schedules, reading books of lore and compiling episode recaps. \u2026 \u201cI Saw the TV Glow\u201d captures this obsessive, anticipatory submersion in a long-form weekly TV show, to the point where it ignites the same feeling. A lot of movies tell<\/em> you stories, but the films of the writer and director Jane Schoenbrun evoke<\/em> them; to borrow a term, they\u2019re a vibe. Like \u201cWe\u2019re All Going to the World\u2019s Fair,\u201d<\/a> Schoenbrun\u2019s previous film, this one isn\u2019t quite horror, but it gives you the same kind of scalp crawl. In this case I think it\u2019s the mark of recognition, of feeling a tug at your subconscious.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
The coming-of-age movie goes to therapy.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Turtles All the Way Down\u2019<\/a><\/span><\/h3>\n
Adapted from John Green\u2019s YA novel of the same name, Hannah Marks\u2019s drama follows Aza (Isabela Merced), a teenager with obsessive-compulsive disorder, as she struggles to manage her anxieties.<\/p>\n
From our review:<\/p>\n
\nWhat \u201cTurtles\u201d does offer in surplus is texture, thanks to Marks\u2019s springy, stylish direction. Any time Aza confronts a thought spiral about germs, Marks pairs voice-over of Aza\u2019s frantic inner monologue with images of neon-colored microbes writhing in a petri dish. These moments are intrusive and unsettling, and together form one of the more dynamically authentic on-screen depictions of O.C.D. that I\u2019ve seen.<\/p>\n<\/blockquote>\n
Watch on Max<\/em><\/a>. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
Who\u2019s afraid of Flannery O\u2019Connor?<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Wildcat\u2019<\/a><\/span><\/h3>\n
Ethan Hawke directs his daughter, Maya Hawke, in a Flannery O\u2019Connor biopic that mixes in visualizations of the American writer\u2019s famously unnerving short stories.<\/p>\n
From our review:<\/p>\n
\nMaya Hawke\u2019s performance, in turn, is muddled; she can be strong as O\u2019Connor, but in the fictional pieces, her portrayals are often reduced to clumsy caricatures. The period re-creation is striking and helps generate occasionally spellbinding imagery, but the enduring sense of the film is of a family project that is by turns frustrating and briefly enlightening.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
CRITIC\u2019S PICK<\/p>\n
The dark side of glamping.<\/h2>\n<\/div>\n<\/div>\n
\n\n\u2018Evil Does Not Exist\u2019<\/a><\/span><\/h3>\n
In a small village outside Tokyo, Takumi (Hitoshi Omika) and his daughter (Ryo Nishikawa) contend with a development company that plans to build a glamping site that may well spoil their rural oasis. It\u2019s the latest from writer-director Ryusuke Hamaguchi (\u201cDrive My Car\u201d).<\/p>\n<\/div>\n<\/div>\n
\n\nFrom our review:<\/p>\n
\nI have watched \u201cEvil Does Not Exist\u201d twice, and each time the stealthy power of Hamaguchi\u2019s filmmaking startles me anew. Some of my reaction has to do with how he uses fragments from everyday life to build a world that is so intimate and recognizable \u2014 filled with faces, homes and lives as familiar as your own \u2014 that the movie\u2019s artistry almost comes as a shock.<\/p>\n<\/blockquote>\n
In theaters. <\/em>Read the full review<\/em><\/a>.<\/em><\/p>\n
\nBonus Review: An Asexual Romance<\/h2>\n