Chris Williams

There are worse sports movies that "The Boys in the Boat," and probably worse World War II-era films. But that might be the film’s biggest problem.

Yorgos Lantimos' "Poor Things" is a funny, original and gorgeously filmed steampunk fantasy that gives Emma Stone one of the best showcases of her career.

With "The Iron Claw," writer-director Sean Durkin delivers an emotional piledriver of a movie and directs Zac Efron to the best performance of his career.

Aspiring to be nothing more than a pleasant diversion for families, "Migration" overcomes its familiarity with warmth, humor and colorful animation.

Whip-smart and very funny, "American Fiction" is a great spotlight for Jeffery Wright and announces a new cinematic voice in writer-director Cord Jefferson.

Don't be fooled by the playful camp of "May December." It might seem salacious on the surface, but Todd Haynes' latest is a complex character study.

"Silent Night," the first American film from action maestro John Woo in 20 years, is one of the most mean-spirited, ugly and regressive movies in a long time.

For Disney's 100th birthday, it releases "Wish," a reheat of classic tropes and themes, and one of the most disappointing animated films in its canon.

Emerald Fennell's "Saltburn" is a gorgeously filmed and brilliantly acted bit of provocation, hampered by a script that doesn't quite know what it wants to say.

Adam Sandler tries to balance sincerity alongside subversive humor in "Leo," an animated musical that has its moments but never quite comes together.

A brutal and wryly funny bit of pulp, David Fincher's "The Killer" is more proof that few directors are more meticulous and honed in on their craft than he.

"The Holdovers" is one of the funniest, most touching and more enjoyable films of 2023, and a high point of Alexander Payne’s career.