Widows (2018)

Widows starts with a bang and then devolves into an overstuffed, over-serious, and even predictable thriller.

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Madeline’s Madeline (2018)

Josephine Decker's wildly imaginative new film is worth seeing for its experimental ambitions, even if, in the end, it's all a bit too much.

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First Man (2018)

Putting Ryan Gosling's feet on the moon, Damien Chazelle has found firmer footing than he did in the eager-to-impress La La Land. This film is modest by comparison, but I find it haunting and enigmatic.

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The Hate U Give (2018)

Preachy, but elevated by an excellent lead performance, The Hate U Give is the kind of after-school special that all of America needs right now.

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A Star is Born (2018)

Bradley Cooper's big remake of A Star is Born strums all those predictable chords so hard, all the strings start breaking.

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Puzzle (2018)

This film looks like a movie made from far-too-familiar pieces. Instead, Puzzle is a delightful and rewarding surprise.

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Dead Poets Society and the Legacy of Dr. Luke Reinsma

Four years ago this week, I wrote about how I had changed my mind about "Dead Poets Society." This week, I re-post it as a tribute to my favorite professor.

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Three Identical Strangers (2018)

Three Identical Strangers is about the joys of brotherhood, the importance of free information and effective journalism, the difference between nature and nurture, and the dangers of science unchecked by conscience.

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Crazy Rich Asians (2018)

Crazy Rich Asians is a Cinderella story in which someone much richer than most of us discovers that wealth is relative, and she might not measure up to the standards of China's super-rich.

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Eighth Grade (2018)

If "Love is attention," like they say in Lady Bird, then the secret of Eighth Grade is the love it shows its central character: 13-year-old Kayla.

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