My most recent film criticism, features and essays.
Talking with Ryusuke Hamaguchi, director of ‘Drive My Car’
For Kenneth Branagh, ‘Belfast’ is a return and a departure
‘Framing Britney Spears’ Review
‘Alone Together’ Review
Steven Yeun is ‘drawn to ... the idea of real people’
Images of 2020: ‘Normal People’ and ‘First Cow’ Reviews
‘Sound of Metal’ Review
‘Rebecca’ Review
NYFF 2020: ‘Nomadland’ Review
Who wants to be a ‘Kajillionaire’?
‘The Tax Collector’ Review
Wicked Queer 2020: ‘Lingua Franca’ and ‘Fireflies’ Reviews
Finding ‘The Truth’ with Hirokazu Kore-eda
How now ‘First Cow’? Director Kelly Reichardt explains.
With ‘Emma.,’ Autumn de Wilde trades midnight movies for ballroom glances
Greta Gerwig's Vibrant, Ambitious 'Little Women' Reinvents Itself
Greta Gerwig Wants 'Little Women' To Be Great Or Nothing
Mark Ruffalo talks about playing not a superhero but a real one, in ‘Dark Waters’
Close Reading: Endless Night
What to know about the film festivals happening in Boston this fall
TIFF ’19: ‘Hustlers’ Knows What the F*ck Is Up
TIFF ’19: Family Epic ‘Waves’ Is a Visual Flood with Shallow Meaning
Bizarre Rom-Com ‘Yesterday’ Takes The Beatles’ Legacy Hostage
“The Souvenir” — A Painful Past, Plainly Presented
‘Late Night’ Has Something to Say, but Doesn’t Want to Cause a Scene
With Bells On: ‘Gloria Bell’ Review
Beach Spreading: 'The Beach Bum' Review
‘Booksmart' Is a New Breed of High School Classic
Sick Mode: ‘Five Feet Apart’ Review
Bits and Pieces: ‘The Lego Movie 2’ Review
Criterion Reviews: ‘Detour’
Serenity, No: ‘Serenity’ Review
Shattered Glass: ‘Glass’ Review
NYFF ’18 Review: Even When Personal to a Fault, ‘Roma’ is Cuarón’s Masterpiece—and the Best Movie of the Year
NYFF ’18 Review: ‘The Ballad of Buster Scruggs’ is a Wild, Witty, and Hollow Patchwork
‘Sorry to Bother You’ Apologizes for Nothing
‘Won’t You Be My Neighbor?’ Isn’t Just an Invitation, But a Call to Action
‘On Chesil Beach’ is a Misguided, Narrow-Minded Tale of Sexual Complexity
Cannes ‘18 Review: ‘Burning’
IFFBoston ‘18 Review: ‘First Reformed’
IFFBoston ‘18 Review: ‘Hot Summer Nights’
IFFBoston ‘18 Review: ‘Eighth Grade’
Throwback Review: ‘Serena’ is the worst Jennifer Lawrence movie you’ve never heard of
Anniversary Retrospective: In Defense of Harmony Korine’s ‘Spring Breakers’
BUFF ’18 Review: ‘Tigers Are Not Afraid’ brings magic to the darkest of conflicts
The Dark, Wild, Feminist Liberation of ‘The Witch’
With ‘Lady Bird,’ Greta Gerwig soars as a storyteller
Paul Thomas Anderson’s ‘Phantom Thread’ is a ghost in disguise
What will awards season be in the wake of Weinstein?
‘BoJack Horseman’ Takes Risks to Explore Regret in Inventive, Poignant Season 5
On ‘The Kids Are Alright,’ Chloe x Halle are the voices of a generation
Japanese Breakfast takes a playful approach to sad songs at The Sinclair
The singles bar: diss tracks and sophomore previews
Brit Marling’s ‘The OA’ is more than its mysteries
With ‘Blackstar,’ Bowie leaves a beautiful, haunting farewell
‘Jane the Virgin’ finds its footing after mid-season twist
Beyoncé turns lemons into visual epic ‘Lemonade’
