Contributor: Paul Asay

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.

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

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

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

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

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.

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

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

First Man puts flesh on a marbled hero, complexities, flaws and all.

Underneath the scars and flaws, underneath the mistakes we make and the falls we take, a tiny glow of our God-given beauty lingers.

As palpable as these talented actors’ chemistry may be, moviegoers should approach this film with deep caution.

As this movie suggests, gold ain’t the only thing that can do bad things to our souls.

This film is literally about showing the worst in all of us, and as explicitly as seems possible.