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27.03.2025 / 03:51

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‘Black Bag’ May Be the Apotheosis of Steven Soderbergh’s ‘Little’ Films. It’s Time for Him to Take a Bigger Swing

Owen Gleiberman Chief Film Critic Certain movie directors — Hitchcock and Tarantino come to mind — constitute a genre unto themselves. Steven Soderbergh was never like that, at least not until he started making his “little” films: the cleverly plotted low-budget indie palate cleansers that he got into the habit of directing in between his more deluxe features.

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‘Bob Trevino Likes It’ Review: Barbie Ferreira and John Leguizamo Are Broken Souls Who Meet on the Internet in a Four-Hankie Indie Gem

Owen Gleiberman Chief Film Critic Once in a while, you see an actor who isn’t held back by the decorum that rules even most good actors. Her emotions don’t stay in check — they spill over the sides. When that happens, you may find yourself connected to that actor in a way that tugs your own buried feelings into the light.

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‘Snow White’ Review: Rachel Zegler and Gal Gadot Face Off in One of the Better Live-Action Disney Remakes. And Yes, the Controversies Are Bupkis

Owen Gleiberman Chief Film Critic With all the turmoil besetting the real world, you’d think there might be more important things to inflate into controversies than the pre-release kerfuffles that have plagued “Snow White.” As it turns out, this is one of the better live-action adaptations of a Disney animated feature. And I say that as someone who mostly doesn’t like them.

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‘Clown in a Cornfield’ Review: Woefully Derivative Slasher Movie with a ‘Hook’ — It’s Not One Killer Clown, It’s a Dozen

Owen Gleiberman Chief Film Critic How basic and hipster dumb and derivative is the SXSW slasher movie “Clown in a Cornfield?” Like many a slasher film before it, the movie is trying to launch its own iconic masked killer. But check out if any of this sounds overly familiar. The killer, named Friendo, wears the face of an evil leering clown, like Pennywise from “It,” topped by a small cocked hat like the one worn by Art the Clown in the “Terrifier” films.

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‘The Rivals of Amziah King’ Review: Matthew McConaughey Shines in a Bluegrass Western Thriller That Could Make Angelina LookingGlass a Star

Owen Gleiberman Chief Film Critic It’s been six years since Matthew McConaughey starred in a movie, and when you watch “The Rivals of Amziah King,” it’s easy to see why this was the one that lured him back. It gives him a role that fits his scraggly aging-bad-boy redneck charm like a glove — and, at the same time, it’s different from anything he’s ever done. The film itself is different from anything you’ve ever seen, in ways both good (the first half) and not as good (the second half doesn’t always parse).

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‘The Accountant 2’ Review: Ben Affleck’s Autistic Action Savant Makes a Winning Return in a Thriller That Improves on the First Film’s Messiness

Owen Gleiberman Chief Film Critic In 1984, “The Terminator” became one of the pop-culture touchstones of its decade, though it’s hard to remember that when Arnold Schwarzenegger was first tapped to play that glowering cybernetic killer, the casting was a bit of knowing joke, one that spun off Arnold’s borderline comic lunkishness as an actor. (It’s not a compliment, exactly, to say that you were born to play a cyborg.) Ben Affleck is a far better actor than Schwarzenegger, but nine years ago, when Affleck was cast as the title character of “The Accountant,” the role carried some of that same frisson of meta japery.

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‘Starman’ Review: An Outer Space Documentary That’s Out of This World

Owen Gleiberman Chief Film Critic When I was four, my parents took me to a planetarium for the first time. It was a huge one, in Chicago; it seemed as big as space itself. I enjoyed many more visits to planetariums over the years, but none could ever match the experience I had when I was four.

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‘Another Simple Favor’ Review: At SXSW, Anna Kendrick and Blake Lively Return for a Sequel That Has More Twists and Less Fun

Owen Gleiberman Chief Film Critic Like a cocktail made of ingredients that aren’t meant to go together, but that stimulate your taste buds in a just sweet-and-tart, gin-and-blood-orange enough way that you keep sipping it, “A Simple Favor” was a movie powered by its singular flavor. It started off as a bad-moms soap opera, with Anna Kendrick’s polite, perky, less-innocent-than-she-seemed Stephanie, a widowed mother who ran her own homemaking vlog, getting drawn into the web of Emily, a fellow grade-school parent who was about as maternal as Cruella de Vil, and who was played by Blake Lively in a performance of supremely entertaining nastiness. As these two bonded over martinis and shared secrets (including the revelation that one of them was a “brother fucker” — an example of how blithe the film was about its own perversity), “A Simple Favor” morphed into a murderous mock noir.

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‘CHAOS: The Manson Murders’ Review: Errol Morris’ Manson Documentary Gets Lost in the Fog of Conspiracy

Owen Gleiberman Chief Film Critic I’m one of those people — there are a lot of us — who is always up for a Charles Manson movie. There have been so many! All the documentaries and dramatizations.

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Oscars Review: Conan O’Brien Rocked His Hosting Debut, but the Telecast Felt Too Small for Hollywood’s Biggest Night

Owen Gleiberman Chief Film Critic In a sense, you could say it was like the good old days. Oscar night, whether the telecast is great or just so-so (I’m all but incapable of finding the Oscars outright bad — I’m too much of an entertainment junkie), always gave you the feeling that Hollywood was at the center of the world.

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The Year When Oscar Narratives Ate the Oscars

Owen Gleiberman Chief Film Critic The Oscars have long been called a “horse race,” and in any such contest the horses are bound to shift position. One horse can pull ahead, and then fall behind. That said, I’m not sure I’ve ever encountered a switchback Oscar moment quite like the one that took place on Feb.

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‘Moana 2′ Sets Disney+ Streaming Release Date

Andrés Buenahora “Moana 2,” the sequel to the Oscar-nominated film about a young Polynesian woman on a quest to break an ancient curse, will be available to stream on Disney+ on March 12. Initially developed as a Disney+ TV series for streaming, “Moana 2” was revamped into a film with a theatrical release.

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Yes, It Can Happen Here. And the Movies Warned Us

Owen Gleiberman Chief Film Critic A couple of months ago, I had a movie experience that truly shook me up. It was early December, and I was in the middle of my end-of-the-year marathon, catching up with the big prestigious awards-season films I’d missed. One of them was “I’m Still Here,” Walter Salles’ acclaimed true-life drama, set in Brazil in 1970, about a family whose exuberant and loving existence falls off a cliff when the father, Rubens Paiva (Selton Mello), is taken in for police questioning by the country’s military dictatorship.

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Branded, Not Stirred: Now That the James Bond Series Is Controlled by Amazon MGM, Is It Set to Become…Content?

Owen Gleiberman Chief Film Critic It turns out they were right to kill off James Bond. Three years ago, reviewing the final Daniel Craig Bond film, “No Time to Die,” I praised the filmmakers’ decision to end the movie with the death of Craig’s 007.

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John Lennon and Yoko Ono Documentary ‘One to One’ Lands Sweeping European Distribution Deal With Piece of Magic (EXCLUSIVE)

Naman Ramachandran Piece of Magic Entertainment has acquired theatrical rights from Mercury Studios for “One to One: John & Yoko” across a broad swath of European territories, including France, Norway, Sweden, Finland, Denmark, Iceland, Netherlands, Belgium, Luxembourg, Germany, Austria, Switzerland, Czech Republic, Slovakia, Estonia, Latvia and Lithuania. The documentary from Oscar winner Kevin Macdonald (“The Last King of Scotland,” “Marley”), which world premiered at Venice and recently played Sundance, offers an intimate look at 18 months of Lennon and Ono’s life in Greenwich Village during the early ’70s.

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‘Sonic the Hedgehog 3’ Gets Paramount+ Streaming Release Date

Andrés Buenahora “Sonic the Hedgehog 3,” the third iteration in the film franchise based on Sega’s enduring speedster, will be available to stream on Paramount+ on Feb. 18. The third “Sonic” feature picks up with the blue blur, along with Tails the Fox and Knuckles the Echidna, having to team up with their nemesis Dr.

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‘The Monkey’ Review: A Toy Monkey Heralds Over-the-Top Deaths in Osgood Perkins’ Trivially Snarky, Ham-Handed Follow-Up to ‘Longlegs’

Owen Gleiberman Chief Film Critic In a movie landscape where the horror never stops, “Longlegs,” released last summer, was able to make more than the usual boo!-and-then-forgotten-in-a-week impact. It was a serial-killer mystery with a suavely creepy atmosphere and a showpiece performance by Nicolas Cage, who camped it up under long hair and pounds of makeup as an androgynous ringmaster sicko who reminded me of no one so much as the character of Witchiepoo from “H.R. Pufnstuf.” “Longlegs” established its writer-director, Osgood Perkins (the 50-year-old son of Anthony Perkins), as a force in horror.

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