The moral compass in “20th Century Women” (A24), writer-director Mike Mills’ rambling, unfiltered drama — loosely based on his adolescence in 1970s Santa Barbara, California — is not one of the characters
“Split” (Universal), the latest psychological thriller from writer-director M. Night Shyamalan, posits that victims of childhood sexual abuse are not only prone to dissociative identity disorder — split personalities — but also that each persona can have unique physical characteristics.
Such is the frantic, oft-repeated mantra of the bewitched and bewildered — not to mention generic — characters who populate “The Bye Bye Man” (STX).
While “Patriots Day” is an effective dramatization of the 2013 Boston Marathon bombing and its violent aftermath, the film is also an unsparing portrayal of those events.
The glossy crime drama “Live by Night” (Warner Bros.) traces the rise of Joe Coughlin (Ben Affleck, who also wrote and directed), a Boston-bred gangster in the Florida of the 1920s and ’30s.
Like all books, Patrick Ness’ award-winning 2011 work can be absorbed slowly, put aside and reflected on. The movie, by contrast, sustains unrelenting horror in the manner of a cult film.
By John Mulderig The sanguinary subtitle of the action-horror sequel “Underworld: Blood Wars” (Screen Gems) proves unpleasantly appropriate as the amount of butchery on screen eventually goes off the charts. By the time the film’s protagonist, in a climactic scene, uses her bare hands to rip the entire spine out of the back of one […]
Though it’s set in present-day Los Angeles, the comedy-drama “La La Land” (Lionsgate) takes a spirited stab at reviving the musicals of Hollywood’s golden age.
The struggles of the civil rights era provide the backdrop for the appealing fact-based drama “Hidden Figures” (Fox 2000).
Directed and co-written (with Jay Cocks) by Martin Scorsese, “Silence” (Paramount) is a dramatically powerful but theologically complex work best suited to viewers who come to the multiplex prepared to engage with serious issues.
The makers of “Why Him?” (Fox) evidently couldn’t decide whether their film should be a raunchy sex comedy or a tamer tale about the clash between established family values and the often bereft behavior of the untethered newly wealthy.