Though the messaging is a bit flat-footed, Peter Farrelly's latest movie is nonetheless effective, and clearly deeply felt, writes critic Katie Walsh.
“Smile” walks a line in which one constantly wonders if the movie is just dumb, or so dumb it’s looped back around to smart again,...
Lena Dunham's latest film showcases her best writing and directing work yet, writes critic Katie Walsh.
“The Woman King” is an inspiring and beautifully made (and viscously violent) historical action film, writes critic Katie Walsh.
If there’s anything to recommend about “Medieval,” it’s the daring, no-holds-barred stunt work, the battles a crunchingly gory affair, writes critic Katie Walsh.
“Spin Me Round” is an indie comedy that flirts with the idea of being a giallo film, but doesn’t quite go all the way, film...
Diane Keaton is as charming as always, but it's not enough to lift "Mack & Rita" from mediocrity, writes film critic Katie Walsh.
‘Bodies Bodies Bodies’ review: The cellphones come out and the bodies hit the floor in this brilliant sendup
The blackly comic horror riff "Bodies Bodies Bodies" is an impressive, cutting look at modern existence, film critic Katie Walsh writes.
“Where the Crawdads Sing” is lacking the essential character and storytelling connective tissue that makes a story like this work, writes critic Katie Walsh.
"Official Competition" skewers the film industry's pretentiousness and asks viewers to consider what makes art "good" and why that label even matters.