Contributor: Paul Asay

There’s a certain paradox in the title All Is True: This movie about William Shakespeare is largely speculation.

Like the disturbed alien child at its center, this movie feels bad to its very marrow.

The John Wick movies aren’t so much stories as they are ballets of blood.

In examining Tolkien’s seminal stories, this movie neglected Tolkien’s own.

El Chicano is, essentially, a Latino-centric superhero story—with the central character being a curious cross between Zorro and The Punisher.

The Intruder is a simple, schlocky and salacious diversion, stuffed to its PG-13 gills with as much sex and violence as the MPAA will allow.

This finale reminds us of movies gone by, celebrating the heroes we’ve come to know and giving them, I think, a fitting coda.

In retrospect, I’d have to say my high school days were pretty typical. I’d worry about tests. I’d worry about friends. I’d worry about whether Suzy thought I was cute or not, and if not, what it showed about her character that she was more interested …

Parents have enough to worry about with their kids now. They don’t need a bogeyman to ratchet up their anxiety even more.

Hellboy may be one of the most insanely grotesque movies I’ve ever seen.

This movie conveniently cherry-picks its sermon points from wherever is most convenient—the Bible, Gnosticism and our own 21st-century ethos.

Shazam!, like its namesake hero—much like us all, really—is a bundle of contradictions.

It’s frighteningly easy to hate a group. It’s harder to hate a person.

“Why so serious?” So says the evil Joker in The Dark Knight, the bleakest Batman movie ever. And, though the Joker wasn’t talking to Batman, he might as well have been. Never the cheeriest of superheroes, Batman has recently become the cinematic poster …

Hotel Mumbai shows us the terror we find in terrorism.