Contributor: Paul Asay

This dystopian tale could’ve been a little more whimsical and a little less grim—more Wizard of Oz and less Mad Max.

Bird Box won’t be up for any awards, most likely, and it’s R all the way. It didn’t need to be.

For those who want a raw look at Instagram and how it’s impacting teens, Social Animals is as relevant, and as riveting, as it gets.

This darker, bloodier take on Mowgli’s story won’t be for everyone.

Roma remains a deeply affecting work—stunning in its use of light and shadow, resonant in its unassuming storytelling.

Green Book is engaging, funny, moving and even inspiring. It reminds us that race relations are never just black and white.

Adonis Creed comes to understand what he should fight for—family and friendship and even love—and what he shouldn’t.

This film can be, much like van Gogh’s paintings, beautiful and ugly and deep.

Despite its impressive pedigree, Widows is ultimately snared in its own web.

In its graphic depictions of its Nazi horrors (and horrific Nazis), Overlord goes overboard.

When someone’s running for public office, should their private lives be scrutinized?

This movie’s just terrible. Terrible aesthetically, terrible ethically, terrible in every which way a movie can be.

Johnny English is no James Bond. But he’s no great friend to the family, either.

Beyond the horrific thrills and chills, beyond the cathartic showdown, slasher movies are about one thing: death.

Can You Ever Forgive Me? feels erudite, entertaining and, in the end, utterly empty.