The film is a critique of social status both in the West and the East, but it is also a wake-up call about the manufactured consent of elite journalism.

Although thorough, thought-provoking, and chilling in its descriptions of the problems in America’s heartland, the prescription from “America Lost” feels like an insufficient response.

In a new HBO Max sci-fi series, the eyes contain layers of complexity, which is why light is not proof of enlightenment.

“The Man in the Arena” tells the story of a man in full. Roger Ailes was energetic, ambitious, unorthodox, creative, brilliant, charming, disarming, and a bunch of other things that made all kinds of different people yell, at critical moments, “Get Ailes!”

Rian Johnson’s 2019 all-star “mystery” is propaganda, not a warning.

“TFW No GF” is shorthand for “The feeling when you have no girlfriend,” and the search for community and identity among these young men left behind by American society is worth understanding and exploring.

“The Hunt” is likely to join a long list of neglected movies—but it doesn’t have to.

It’s a high-water mark and a bid for the mainstream from a faith-based film industry that has produced uneven product in its several decades coming of age.

“Marriage Story” reinforces the beliefs of a broken, narcissistic society that may be inclined to find its divorce-as-liberation message reassuring. It soothes with the message, “no judgment.” But is that really what America needs to hear?

“No Safe Spaces” succeeds at its primary goal: revealing the fundamentally evil designs of our enemies. There are, however, serious flaws in this otherwise polished production.

The film really isn’t about the two popes, but about one—Francis. Benedict is only used as a vehicle and a way to portray Francis as the savior of the Catholic Church.

Eastwood’s project of demonstrating the greatness in the American character is again exemplified in “Richard Jewell.”

In "Once Upon a Time . . . in Hollywood," the old wins its battle with the new and real men are portrayed as heroes once more. 

Despite the criticism, “The Irishman” director has made a cinematically powerful film.

Robert De Niro delivers a 209-minute confession—with no remorse. He says what he feels, which is nothing. 

By choosing to give its marvelous heroine the comic-book treatment, “Harriet” can’t decide if it wants to be a serious biography or the female “Black Panther.”

On its face, Bunker Spreckels’ story is that of a young man who seems to have been born to die, of a boy who flew too close to the sun with wings of feathers and wax, of greatness stunted by greatness as it only could be.

Apart from pandering to the politically correct with a jumbled social justice salad, “Terminator: Dark Fate” offers thin gruel in the way of decent sci-fi action.

If “The Dark Knight” proved that regular people can become heroes in response to a bleak and unstable society, then “Joker” proves that regular people can become villains for the same reason.