Contributor: Paul Asay

I, Tonya is presented as a dark comedy, and yes, it can be funny. But it’s a tragedy, too.

Molly’s Game may leave viewers feeling like they’re holding a bust hand: cards that look promising, but that add up to nothing.

Film Stars Don’t Die in Liverpool is the sort of movie that, one might argue, Discerning Filmgoers Won’t See in Theaters.

This drama is meticulously crafted, both covering and revealing vulnerable truths underneath. But it’s unsettling, too.

It’s not fake news to say that this story is pretty compelling.

For a story that wants to give viewers a moral, universal fairy tale, its gratuitous moments sure restrict its potential audience.

The Last Jedi isn’t perfect, morally, spiritually or aesthetically. But I think it’s the best Star Wars film since the original trio.

Just Getting Started? I couldn’t wait for it to end.

Explicit content turns The Disaster Artist into a bad movie about a bad movie.

Woody Allen goes dark with Wonder Wheel, a movie far more bleak and more adult than its PG-13 rating would suggest.

Novitiate, like many of its characters, walks away from this curious form of faith a bit bewildered, a bit disgusted.

Roman J. Israel Esq. tells us that not only is virtue its own reward, it is, ultimately, the only one.

Darkest Hour shines.

In a year filled with top-flight superhero movies, DC’s answer to Marvel’s Avengers barely gets off the ground.

This movie felt like a tragedy to me: a tiny family slowly drowning—incapable of swimming, unwilling to grab lifelines dangling by the pool.