Michael Marano
Nathan Fielder’s “You Can See Everything” turns the Theranos saga into a revelatory, Philip K. Dickian inquiry into artifice, identity, and truth.
Tom Cruise delivers a virtuoso turn, but Iñárritu buries a potentially potent climate-change comedy beneath exposition, self-congratulation, and stunts.
David Robert Mitchell’s affectionate, unsettling return to an early-’80s Detroit suburb brings Spielbergian wonder and suburban anxiety into collision—though its dinosaur-driven black comedy eventually wears thin.
The webslinger’s new outing has the cameos, the conspiracy, and the corporate logic. What it doesn’t have is heart.
Director Travis Knight’s self-aware reboot turns Reagan-era toy marketing into a surprisingly sharp, character-driven comedy about power, nostalgia, and growing up.
Curry Barker’s debut turns dating, consent, and loneliness into a bleak and deeply felt horror tragedy.
Director James Cameron’s 3D concert film captures the awe, pressure, and near-religious devotion of Billie Eilish’s fanbase.
This year’s Independent Film Festival Boston kicks off this week, and it offers a grand selection of must-see indie films that set audiences free from the soulless product of corporate franchises.
Vicky Osterweil examines how Unca Walt’s empire imposes a politically dangerous, patriarchal form of homogenization across all its intellectual properties—from the Marvel Cinematic Universe to cartoons, to “Star Wars” films and shows, and to amusement park “experiences.”
Arts Commentary: Superman, Spider-Man, and the American Art of Slugging Nazis
William Nicholas Love’s punch heard round the internet belongs to a long comic-book history of fighting homegrown fascism—from Captain America to “The Clan of the Fiery Cross.”
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