This isn't an easy song to sing along with. It shouldn't be. But it represents a meaningful anger, a broken heart, a soulful lament, a rage expressed in love for those who have been wronged.

Did social distancing influence this Joel Coen production of the Scottish play? It has some great actors in it, but their performances seem strangely separate. And the film's striking images seem more like a gallery of evocative stills than immersive cinema.

This week: An astounding 2022 preview. The upcoming poetry of Luci Shaw. And some initial thoughts on C'mon C'mon, Azor and Licorice Pizza.

This week: Malick's rollercoaster ride through the eons of history. Mia Hansen-Løve's film Bergman Island. All hail U2's The Edge!

Twenty years ago this weekend, I joined a fellowship at the local cineplex to witness an event that would change the art of movies — for better and for worse — for decades to come.

Merry Christmas early! The Weekender will be a Surprise Box, an unpredictable newsletter, a bulletin board of things I'd like to share that I would have expanded into full, individual posts if life had afforded me the time.

During November's Barnes and Noble Criterion sale, I took a chance on a film I've never seen before. I am so glad that I did. It's one of the great films about the possibilities and the dangers of religious faith.

In a season of sprawling epics and extravagant spectacle, Rebecca Hall's directorial debut is one of the year's finest exceptions: a quiet, focused film that knows exactly what it wants to be and efficiently achieves it.

Wes Anderson's devoting every resource at his disposal to realizing grander visions. The results are more like museums than paintings, more like restaurants than mere meals.