Matthew Monagle

Watching Bloodlines is like watching a nature documentary where a woodland creature is ripped to shreds in graphic detail. If you’re someone who roots for the prey over the predators, this might not be the movie for you. Otherwise? Cut loose, friend.

Mufasa is a small triumph for Jenkins and a small tragedy for Miranda, which means it’s a fine movie in an ocean of fine movies.

Like every good musical, Emilia Pérez is a movie with big feelings, even if the feelings sometimes (often) outpace the logic.

While some filmmakers fade into obscurity during their time away from the screen, The Bikeriders is a welcome reminder that Nichols’ thoughtful explorations of economic tension and toxic masculinity are more relevant now than ever.

This is Michael Bay for the John Wick generation: bombastic filmmaking at its finest with complex, multi-level action sequences that give the stunts room to breathe.

The Idea of You is an example of the romance novel adaptation done right, an outstanding balance of chemistry and joke density that never talks down to its audience.

Civil War enflames our discomfort by bringing the conflict to our own backyard.

The Fall Guy is a wonderful movie about love and collaboration mashed up with an aggressively fine summer thriller.

If the results are more than a little preachy, it’s only because Patel cares so passionately about the issues he spotlights and the cinematic language of violence he uses to discuss them.

Perhaps time will be kind to Drive-Away Dolls; the cast of rising stars seems destined for greatness, and the setting will sharpen into focus the farther we move away from the decade. But it’s hard not to feel that Drive-Away Dolls is the sum of its production history: a decades-old concept that missed its window for relevance.