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In “Christy,” Sydney Sweeney’s only fighting herself

Coleman Spilde

In “Die My Love,” Jennifer Lawrence rescues a film from itself

Coleman Spilde

It’s a rough world out there. Kids deserve to know

Coleman Spilde

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Coleman Spilde

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Coleman Spilde

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Coleman Spilde

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Coleman Spilde

Horror doesn’t need the Academy’s permission to matter

Coleman Spilde

“The Perfect Neighbor” crosses a line

Coleman Spilde

Ben Stiller’s love letter to the people who made him laugh the most

Coleman Spilde

Inside “After the Hunt,” the most provocative film of 2025

Coleman Spilde

“The Family Stone” is Diane Keaton’s tender onscreen goodbye

Coleman Spilde

John Candy lived to make us feel better

Coleman Spilde

“No Other Choice”: What not to do when you lose your job

Coleman Spilde

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Coleman Spilde

In “Jay Kelly,” George Clooney is a movie star in crisis

Coleman Spilde

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Coleman Spilde

“HIM” decries our false football Gods

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How “Demon Slayer: Infinity Castle” became an antidote to American fatigue

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Coleman Spilde

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Coleman Spilde

Darren Aronofsky finally has some fun

Coleman Spilde

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Coleman Spilde

Margaret Qualley is in total control

Coleman Spilde

11 fall movies you won’t want to miss

Coleman Spilde

Taylor Swift played us again

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“Weapons” succumbs to its worst instinct

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Gen Z finally has a great reality show

Coleman Spilde

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The horror of being “Together” forever

Coleman Spilde

With “Happy Gilmore 2,” Adam Sandler’s comedy shows its age

Coleman Spilde

“Oh, Hi!” turns the archaic “crazy woman” trope on its head

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“Superman” is super woke — on purpose

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“F1: The Movie” is everything wrong with Hollywood

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Everyone in America is a Marnie now

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Natasha Lyonne’s big AI problem

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"Brokeback Mountain" broke hearts on the big screen, and it's back to do it again