Welcome to my coverage of 2022’s SXSW Film Festival! This year, I’ll actually be in Austin, Texas in-person to cover the festival for four days. This year’s festival sees a variety of exciting offerings, with highlights including the new Daniels sci-fi mind-bender Everything Everywhere All at Once, Ti West’s new horror flick X, and Nicolas Cage playing Nicolas Cage in The Unbearable Weight of Massive Talent, plus much more. Below, you’ll find my entire coverage, including a dispatch of capsule reviews. All reviews in viewing order…

Within the glut of modern superhero fiction on the big screen, Matt Reeves’ The Batman is a stylish, revitalizing tonic. A coming-of-age story grafted onto a pitch-black noir, the film plants the seeds for The World’s Greatest Detective and strikes at the beating hearts of Batman, the Waynes, and Gotham City. Under a slowly unspooling mystery and a bevy of comic book influences, Reeves launches the Caped Crusader back into the limelight of his own franchise, delivering a new, definitive Batman mythos. Robert Pattinson and Zoë Kravitz shine. Minor spoilers ahead…

With his latest film Kimi, Steven Soderbergh appropriates the inelegance of pandemic dramas and tech gimmicks to craft a crackling paranoid thriller. With potency in the metaphors between the lines of its fleet predictability, Kimi bubbles with rage, teems with Soderbergh’s meticulous craft, and soars with a great Zoë Kravitz performance. Minor spoilers ahead…

Another year. Another glorious mashup edit. This is A Year in Film 2021. Over 60 films in three-and-a-half minutes, this video mashup pays tribute to the movies of last year. From big franchise hits to indie gems, 2021 proved that not even the pandemic can stop the progress of great filmmaking. Before we dive into 2022, grab a seat and some popcorn and celebrate the cinema of 2021 one last time.

Rebecca Hall continues her streak of blistering performances in Andrew Semans’ harrowing Sundance psychodrama. A tale about motherhood, hidden pasts, and the limits of control, Resurrection unspools a single mother’s crushing secret in a steely structure that belies its brazen, outrageous horror. Every Sundance has that one Midnight film that lays worms in your brain, and Resurrection is this year’s culprit: a bloody, twisted ride with shocking revelations. Minor spoilers ahead…

Welcome to my first dispatch from this year’s Sundance Film Festival. As usual, I won’t be writing full reviews of everything I see at the festival, but there are plenty of great films in this year’s slate that deserve attention. Here are the capsule reviews for Sundance’s cavalcade of one-word titles: The Princess, Fresh, Master, Dual, and Watcher. Minor spoilers ahead…

My 2022 Sundance Film Festival coverage begins here. In 2017, the pseudonymous Kogonada made waves at Sundance with his intimate character drama, Columbus. Five years later, the prominent video essayist and filmmaker has returned with After Yang, a meditative sci-fi stunner no less affecting than his beautifully-wrought debut. A deeply emotional examination of identity, purpose, and the memory of all things, After Yang tackles its themes — and its surprising thread on what it means to be Asian and Asian American — with grace and craft. Minor spoilers ahead…

Welcome to my coverage of 2022’s Sundance Film Festival! Once again, Sundance has gone all-virtual usual, this time due to a resurgent COVID variant. This year’s festival sees a variety of exciting offerings, including a harrowing Midnight slate. Other highlights include Joachim Trier’s conclusion to his “Oslo Trilogy” The Worst Person in the World, a new sci-fi tale from Kogonada, and a twisted thriller starring Rebecca Hall. Below, you’ll find my entire coverage, including a dispatch of capsule reviews. All reviews in viewing order…

Ghostface is back and meaner than ever. The first entry in the franchise without Wes Craven at the helm, Scream combines a fresh cast with legacy characters for a bloody, ruthless whodunnit. Its winking genre-savviness isn’t quite as skewering or clever as it thinks it is, but Scream’s latest stewards of Matt Bettinelli-Olpin and Tyler Gillett carve out a new brand of brutality while paying humble respect to the spirit of Wes Craven. It feels good to be back in Woodsboro. Minor spoilers ahead…

2021. Another year down, COVID is still raging, and things are looking pretty grim for movie theaters out there. The pandemic has transformed the cinematic landscape into a tempest of uncertainty, with only the most gargantuan of tentpoles being sure things at the box office. But just because profitability is scarce doesn’t mean movies are dead. Just to name a few gems, this year saw lush Arthurian legend come to life, a new freewheeling Paul Thomas Anderson flick, Ridley Scott in his element, fresh bloodcurdling horrors, and another jaunt into the Matrix. Movies have still got it. Here’s my list of the best movies of 2021.

A bare-knuckle haymaker across the dome of our obsession with nostalgia and Hollywood’s reboot complex, The Matrix Resurrections is ambitious, sci-fi metafiction sure to be divisive. Tackling themes of creator vs. destroyer, revival, and the illusion of choice in a brand new context, it’s Lana Wachowski’s meditation on why she didn’t want do another Matrix movie…via another Matrix movie - and it’s great. Minor spoilers ahead…

The eagerly-anticipated Spider-Man: No Way Home, Tom Holland’s third solo outing as the web-slinging superhero, is the shaggiest and certainly the most stylistically inert of the MCU Spideys. Overstuffed and frenetic, the film cracks open the Marvel Multiverse with sledgehammer pandering. It’s anything but artful, but there’s no denying the power of its crossover charms; even more impressively, No Way Home tackles heroic compassion in a way that finally strikes true to the heart of Spider-Man. Minor spoilers ahead…

Long-delayed and eagerly anticipated, Paul Verhoeven’s incisive take on “nunsploitation” is finally here. There will be many to point out Benedetta’s racy sex scenes and its high lesbian camp, but the film is so much more than that. A provocative clapback against Puritanism, Catholic hypocrisy, and the shackles we place upon women’s bodies, Benedetta once again proves Verhoeven’s directorial mettle as cinema’s resident satirist. Minor spoilers ahead…

Leave it to Steven Spielberg to spin a stage-to-screen retread into dazzling, cinematic gold. Pulling out all the stops of his meticulous craft, Spielberg - along with frequent collaborator Tony Kushner - have wrought a beautiful update to the legendary 1957 musical and its equally regarded 1961 film adaptation. 2021’s West Side Story wisely retains its original orchestrations while injecting depth into its conflicts and modern verve into its visuals, mining multiple star-making performances out of its sprawling cast. Minor spoilers ahead…

Kristen Stewart - in a wrenching, career-best performance - disappears into the role of Diana, Princess of Wales in Pablo Larraín’s Spencer, a haunting gauntlet of psychological horror in the guise of a biopic. Forgoing historical specificity in favor of evocation and the hazy purgatory between dream and nightmare, Spencer rebukes the royal mythos with a portrait of an unraveling spirit. Minor spoilers ahead…

The streaming wars have all but killed the traditional release model for television, but the fall season continues to house the biggest surges in new shows and season premieres. I spent the last week catching up on the biggest TV releases of the past month to parse what’s worth your time and what isn’t. Here are some quick reviews of Cowboy Bebop, Hellbound, Yellowjackets, Dexter: New Blood, Invasion, and Chucky. Minor spoilers ahead…

The Marvel Cinematic Universe tries something a little different with Chloé Zhao’s Eternals, injecting the filmmaker’s trademark humanist drama into cosmic-level superheroics. There are plenty of things to like with this new approach, but much of it fights tooth and nail with the dullest iteration of Marvel formula; Eternals’ weighty themes are lost in a story that is lopsided, overstuffed, and brutally overlong. Minor spoilers ahead…

Edgar Wright’s decades-long tour of genres makes a no-frills horror pitstop in Last Night in Soho. A collision between past and present painted with the brush of giallo and other era-appropriate terrors, the film is a lush and arresting thriller…until it isn’t. Last Night in Soho soars in its first half with Wright’s signature craftsmanship and a pair of great performances from Thomasin Mackenzie and Anya Taylor-Joy, but its final act is undone by its over-polish, toothlessness, and muddled pastiche. Minor spoilers ahead…