The frustration of ‘Other Mommy’ begins with how much its premise has going for it. There’s an intriguing film to imagine here, but sloppy execution keeps getting in the way. What remains is the disappointment of watching a promising idea fail to become a satisfying movie.
‘Whalefall’ makes the struggle for breath feel immediate without letting its emotional conflict become an afterthought. This grueling survival thriller finds a commendable balance between physical desperation and unresolved father issues, giving viewers something to feel beyond the instinct to escape.
The wit makes the first impression; the meaning is what stays. ‘Lady’ offers more than cleverness, finding substance beneath its humor without losing the pleasure of a well-judged laugh. Our Nashville Film Festival review celebrates that unexpectedly rewarding combination.
Ben Affleck directs and stars in Animals, a Netflix thriller about a Los Angeles mayoral candidate and a kidnapping. The politics are borrowed. The movie is dull and tedious.
Imagine ‘Home Alone’ with a haunting and a wardrobe of autumn colors. ‘Hallowarrior’ makes that combination a visual attraction, inviting viewers to linger over its seasonal atmosphere. The result gives the eyes plenty to enjoy alongside its spooky premise.
Annette Jolles’ capture of the Roundabout Theatre Company’s revival of Noël Coward’s Fallen Angels proves a delightfully silly watch.
Some romances win you over by feeling familiar. ‘Wicker’ makes a persuasive case for the peculiar, finding charm in its strangeness and keeping wit close at hand. Our LFF 2026 review celebrates a wonderfully weird film with an appealing sense of humor.
There’s being a man, and then there’s making sure everyone notices the performance. Taron Egerton embodies the latter in ‘Everybody Wants to F*ck Me.’ Our TIFF 2026 review examines a high-concept comedy through its portrait of masculinity as an act for an audience.
