While the film possesses a great deal of compassion, humor and warmth, it’s response to injustice that makes “The Hate U Give” – adapted from Angie Thomas’ wildly popular 2017 young adult novel – one of the most startlingly visceral films of the year.
“Colette” is an acerbic but middling tale of identity and creative integrity, hampered by an enraging male lead and haywire, inconsistent visuals never able to fully grasp its story or keep up with its star, Keira Knightley.
In a dramedy set at at Double Whammies, a Texas “sports bar with curves,” and led by a stunning, anchoring performance by Regina Hall, Andrew Bujalski has created something beautiful with bare-bones humility, humor and humanism.
Bo Burnham’s film asks us – as we peer around our fingers, cringes permanently seared onto our faces – to remember exactly what it felt like to be in eighth grade with what felt like eternity ahead.
The narrative around the Sandra Bullock-led “Ocean’s 8” has been about its “gender swap” element – which can be scrutinized and celebrated, but shouldn’t dominate conversation surrounding a heist flick that is stylish, fun and fleeting.
Directed by William H. Macy, “Krystal” is sexist, infuriatingly dumb and a waste of every single one of the talents on board. There’s no reason “Krystal” should’ve made it past the drawing board.
There’s an abundance of mess in this unadaptable adaptation, but Ava DuVernay adds a spark to the proceedings, enlivening every frame with a refreshing gusto. The sense of adventure is palatable, no matter how long it takes for it to actually arrive.
While we have to wait until March 4 to see what film wins big at the 90th Academy Awards ceremony, The Boston Society of Film Critics gives cinema fans a chance to get into the awards season mood early.
A meandering and frustrating series finale is turned into something worthwhile primarily by director Wes Ball, who has a vision for how the “Maze Runner” dystopia should look and an ability to maintain both a kinetic sense of actions and solid character beats.
Elisabeth Subrin’s “A Woman, a Part” casts a critical eye at Hollywood by examining what it means to age in the public eye and what you do when your passion dims, then goes on a reunion tour with its own bittersweet set of conflicts.