The story begins with Wendy Darling (Ever Anderson) leading her younger brother John (Joshua Pickering) and kid brother Michael (Jacobi June) in a play session that includes swashbuckling sword fights, followed by a couple of nice moments between the children and their parents (Molly Parker and Alan Tudyk). Soon enough, Peter Pan (Alexander Molony) makes his entrance

When the film opens, Matthias (Marin Grigore) is working in a German slaughterhouse. While out on a smoke break, he is called a “lazy gypsy” by a co-worker, who he quickly headbutts to the ground. The sudden violence says a lot about Matthias’ instincts, but it will also have interesting reflections later in the film

Except for a brief section when the filmmaker asks the viewers to remove the phones—the headphone version is definitely one that veers into an audience participation mode—that’s how we hear the movie. I’m surprised that Lou Reed is never mentioned in the work—in the 1970s, he was a real proselytizer for this binaural recording method.

A lush, exotic resort, a gaggle of blinkered white tourists, and a dead body in the middle: You’d be forgiven for seeing the parallels between “The White Lotus” and Hulu’s latest limited series, “Saint X.”  Based on the acclaimed 2020 novel by Alexis Schaitkin, “Saint X,” on paper, subverts the typical patterns of this kind

The latest in the series, “Evil Dead Rise,” comes from Irish writer/director Lee Cronin, whose 2019 feature debut “The Hole in the Ground” also revolves around sinkholes and mommy issues. Cronin’s grimy sensibility is much closer to that of remake director Fede Alvarez than Raimi’s live-action cartoons. But he does share one key thing with

The first “Little Richard Awards Show Moment” was at the 1988 Grammys, when he and Buster Poindexter (aka David Johansen, former frontman of the New York Dolls) presented the award for Best New Artist. Little Richard, resplendent in a shiny brown suit, glanced at Johansen’s towering pompadour and declared, “I used to wear my hair

While we’re watching Leo dog-paddle through a manure pit he filled up all by himself, there’s a much more interesting and fresh story happening in the background about a modestly talented high school basketball player who discovers, while suffering and flailing through his first serious relationship, that he enjoys cathartically writing about what he’s going through, and

Todd Haynes, who premiered his glorious documentary about the Velvet Underground in Cannes last year, is back with “May/December.” It’s apparently about a well-known American couple in which the husband is 23 years younger than his wife and their twins are about to graduate from high school. This may be the year of “Yep—there’s an age

The crisis in “Everything Went Fine” begins in the first moment. Emmanuèle (Sophie Marceau) sits at a table in her apartment, working. The phone rings. She listens to the caller, whom we don’t hear. She asks, “When? Where?” and then promptly races out the door. Her father has had a stroke, and the caller is

You can sense that condescension in the film’s unnatural development, as seen in commonplace scenes of prejudice: Eric Roberts briefly appears as a bigoted service station owner that shouts the Black Globetrotters away from his gas by touting a double barrel shotgun; a hotel rents a room to the monkey Mr. Bananas rather than the Globetrotters;