“XX” begins with a promising premise: It’s a horror anthology consisting of four short films by women, about women. But the result is frustratingly inconsistent. Each film has its moments, but some are way stronger than others. Still, it’s encouraging to see so many women in one place working in what traditionally has been a male-dominated genre. My mixed RogerEbert.com review.
For a movie about two people who loved each other so deeply, they risked losing everything to be together—their families, homes, even their countries—“A United Kingdom” plays it frustratingly safe. David Oyelowo and Rosamund Pike can do no wrong, but they can only do so much to convey passion in a film that’s well-made but restrained to a fault. My mixed RogerEbert.com review.
“The Space Between Us,” about the romance between a boy from Mars and a girl from Earth, plays like a “Muppet Babies” version of “Starman.” It’s nutty. Not nutty enough that you should run out and see it, but still. It features an exploding barn. My 1 1/2-star review, at RogerEbert.com.
This psychological thriller marks a return to form for M. Night Shyamalan, featuring a tour de force performance from James McAvoy as a kidnapper suffering from multiple personality disorder. The big twist is, there is no big twist: It’s just a suspenseful, well-acted film. My RogerEbert.com review.
Bryan Cranston and James Franco are stuck in one-note roles as an uptight father and his wild, would-be son-in-law, respectively, in this raunchy, R-rated comedy. Meanwhile, the young woman at the center of their squabble, a Stanford University senior played by Zoey Deutch, doesn’t seem to have much agency in her own future. Merry Christmas to us all. My RogerEbert.com review.
“Two Lovers and a Bear” does indeed contain two lovers and a bear — and the bear can talk. The story of tortured people (Tatiana Maslany and Dane DeHaan) in a fiery romance in the icy Canadian Arctic is beautiful and strange, and it heads in directions you won’t expect. My RogerEbert.com review.
The latest musical extravaganza from Walt Disney Animation Studios follows the adventures of a young woman who finds her own voice and forges her own identity as she becomes the first female leader of her people. It’s a complete blast with a great message. But for all its thrills, laughs and musical joys, it’s hard not to recognize a certain poignancy as it relates to our current political landscape. Maybe that’s just me, though. My rave, at RogerEbert.com.
“The Edge of Seventeen” is a strong successor to John Hughes’ legacy with its mix of biting humor and bittersweet heart. But writer-director Kelly Fremon Craig also dares to go to places that are darker and truer in her feature filmmaking debut. Hailee Steinfeld is just radiant as a high school junior whose hormones and immaturity won’t allow her to enjoy being the smartest person in the room. If you were a teenager in the ’80s — or the parent of a teenager now – you’ll love this. My rave, at RogerEbert.com.
The book wasn’t great. It was solid trash — a juicy page turner. The movie version isn’t even that. It’s a surprisingly flat and suspense-free tale of pretty people in peril. Emily Blunt gives it her all, though, as the title character: a damaged woman on a misguided quest for redemption. My RogerEbert.com review.
It’s essentially “Groundhog Day” meets “X-Men.” But really, Tim Burton’s latest fantasy adventure is much more complicated than that, with a dense mythology and overly explanatory dialogue that may leave you wondering what you’d just seen. The costumes are gorgeous, though. My RogerEbert.com review.