Movie Reviews

In his film Wild Horse Nine, the director Martin McDonagh blends a political tale with a story of loyalty and love, Dan Webster says.

In Possible Love, two couples from different backgrounds get close while making a documentary about worker’s rights. Nathan Weinbender says Korean director Lee Chang-dong’s latest is a fascinating, mysterious drama about relationships and social class.

In A Talent for Murder, Tom Ripley returns but ends up being just a pale version of Patricia Highsmith’s killer character, Dan Webster says.

You Can See Everything is already the most talked-about documentary of recent years. Nathan Weinbender says it lives up to the hype as a fascinating, exhilarating brain teaser about the nature of truth and objectivity.

In his new documentary The History of Concrete, now playing at the Magic Lantern Theatre, John Wilson explores the quirks of American life and urban development. Nathan Weinbender says it’s one of the funniest and most poignant movies of the year.

Verity is evidence that a beach read doesn’t necessarily make for something worth watching on the big screen, Dan Webster says.

Behind a heavily made-up Tom Cruise playing an unscrupulous oil magnate, Digger is an indictment of blatant greed, Dan Webster says.

Lance Oppenheim’s Primetime takes a critical look at the man behind the television show “To Catch a Predator,” Dan Webster says.

In Lance Oppenheim’s Primetime, Robert Pattinson plays Chris Hansen, the host of “To Catch a Predator” on the hunt for ratings and journalistic recognition. Nathan Weinbender says the movie is a simplistic but oddly compelling true-life horror story.

Ross McElwee’s documentaries are quirky, stream-of-consciousness considerations of his own life and the world around him. In Remake, now on VOD, he stitches together archival footage to process the death of his son, and Nathan Weinbender says it’s a wounding, complicated and deeply moving film.

Hope is the most expensive Korean film ever made, a blockbuster about a small town, an alien invasion and lots of chases. It has already been a divisive movie, and Nathan Weinbender says it’s a kooky, wildly ambitious and noticeably flawed epic.

As the biopic Tony shows, movie attempts to capture the character of a real person all too often fall flat, Dan Webster says.

The End of Oak Street is a standard family-in-crisis movie with a fantastical dystopian conceit, Dan Webster says.

Spider-Man: Brand New Day proves that a superhero movie can have a heart at its center, Dan Webster says.

This weekend, the bizarre, brazenly stupid 2001 cult comedy Wet Hot American Summer returns to theaters. Nathan Weinbender says it’s a great excuse to see some brilliantly silly jokes and an all-star cast before they were stars.

You’ve probably never heard of the microbudget Burt, but Nathan Weinbender says this unassuming comedy about a musician and his estranged son is a buried treasure worth digging up. It’s now streaming on Kanopy.

Blue Heron tells the story of how one child’s emotional problems affects the other members of his family, Dan Webster says.

The Odyssey is less a depiction of the Homeric poem than it is a reflection of Christopher Nolan’s trademark themes, Dan Webster says.

Tuner is the story of a man with musical gifts and sensitive hearing who becomes a safe cracker. Nathan Weinbender says it’s a minor but entertaining neo-noir, and it’s now available as a digital rental.

The Invite is a powerful look at marriage that echoes one of the great works of American theater, Dan Webster says.

Livia Koh reads an original poem

Maddie’s Secret, from comedian John Early, is a hard film to classify. It plays like an homage to a 1980s TV movie about a woman with an eating disorder, and Nathan Weinbender says it’s a surprisingly thoughtful and sometimes absurd study of an often-mocked genre.

With his film Fiume o Morte! director Igor Berzinović uses a novel way of telling the history of a troubled city, Dan Webster says.

The Love That Remains is an offbeat drama about nature, fate and an Icelandic family coming apart at the seams. It’s now streaming on the Criterion Channel, and Nathan Weinbender says it’s weird, compelling and, if you can get on its level, deeply rewarding.

Who doesn’t like the Toy Story movies? The fifth installment of Pixar’s first franchise is now in theaters, and Nathan Weinbender says it’s an entertaining family adventure that mostly sticks to the same formula as its predecessors.