The Prosecutor is exceedingly entertaining. It’s also not even passingly believable.

After another look, I’m starting to feel like we’re all going to look back on Joker: Folie à Deux and realize that collectively we got this one wrong.

I walked away from The Count of Monte Cristo invigorated. Its intensity, its majesty, its larger-than-life virtuosity, all of that and more filled my heart with glee.

Mufasa: The Lion King has enough going for it that it stands on its own with pride.

Boys Don’t Cry: Celebrating the complicated, problematic legacy of an essential entry in the LGBTQ cinematic canon on its 25th anniversary

Queer is an ejaculatory descent into the unfinished humanistic unknown that’s probably unlike anything I’ve ever seen. I have a feeling Burroughs, if he were still around to see the finished film, wouldn’t have wanted it any other way.

For all my misgivings, I was entertained by Gladiator II. I call that a victory.

Juror #2 is a bona fide crowd-pleaser that’s guilty of being hugely entertaining.

Maybe it is appropriate that The Apprentice director Ali Abbasi has made something so perplexingly frustrating, yet still aggravatingly mesmerizing, out of the relationship between young New York real estate developer Donald Trump and firebrand lawyer Roy Cohn.