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Killers of the Flower Moon
(2023)
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Kathryn Reklis
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In Martin Scorcese’s telling of the Osage Indian murders, all the violent contradictions of history unfold in domestic intimacy.
Posted Dec 04, 2023
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Bottoms
(2023)
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Kathryn Reklis
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The characters are confused and frustrated, but ultimately so much wiser than I could ever imagine being at 16.
Posted Oct 27, 2023
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Barbie
(2023)
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Kathryn Reklis
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Barbie is not a perfect movie, but it is a conversation, and a conversation worth having. For me, Barbie brought the unexpected pleasure of finding shared experiences in our fractured, factious age.
Posted Aug 25, 2023
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Asteroid City
(2023)
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Kathryn Reklis
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For the first time in a while, I remembered what it felt like to be all in with Anderson, and it made me want to watch all over again.
Posted Jul 24, 2023
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Air
(2023)
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Kathryn Reklis
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These movies don’t really want to explain that magical transformation as much as participate in the magic themselves.
Posted Jun 22, 2023
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Tetris
(2023)
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Kathryn Reklis
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Even though my best friend got a Game Boy in 1990 with Tetris in the box, I was on the edge of my seat to see how the deal would close.
Posted Jun 22, 2023
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BlackBerry
(2023)
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Kathryn Reklis
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[It] turns what would be a boring story about corporate strategy into high stakes drama.
Posted Jun 22, 2023
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Flamin' Hot
(2023)
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Kathryn Reklis
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The suspense and drama of the commodity biopic work without the need for either accuracy or mystery.
Posted Jun 22, 2023
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Are You There God? It's Me, Margaret.
(2023)
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Kathryn Reklis
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Fremon Craig’s film captures the joyful, curious, respectful perspective that has made Blume’s book such a mainstay of contemporary coming-of-age stories because it trusts its middle school protagonists.
Posted May 26, 2023
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Broker
(2022)
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Kathryn Reklis
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Like a song worming its way into your consciousness in the rainy night air, Kore-eda offers us a film about all the ways we can learn the transformative possibilities of forgiveness, including from the movies.
Posted Apr 14, 2023
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Women Talking
(2022)
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Kathryn Reklis
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Women Talking examines the collective power of women’s words for a MeToo era.
Posted Feb 27, 2023
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She Said
(2022)
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Kathryn Reklis
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She Said is remarkably restrained, almost muted.
Posted Feb 27, 2023
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Glass Onion: A Knives Out Mystery
(2022)
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Kathryn Reklis
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A murder mystery can provide sharp social commentary—and great fun.
Posted Jan 13, 2023
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Black Panther: Wakanda Forever
(2022)
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Kathryn Reklis
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Much like the Star Wars galaxy or Tolkien's Middle Earth, Wakanda is becoming the realest kind of fictional place, one that inspires collaboration by artists and writers and ordinary fans.
Posted Dec 16, 2022
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Tár
(2022)
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Kathryn Reklis
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Instead of offering us exposition or internal monologues, Field brings us into the flow of time of his characters, which is life itself.
Posted Oct 28, 2022
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Nope
(2022)
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Kathryn Reklis
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Peele has emerged as one of the great living filmmakers by marrying the genre conventions of science fiction and horror with deep, layered social commentary.
Posted Oct 07, 2022
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Prey
(2022)
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Kathryn Reklis
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Prey critiques the assumption that survival requires dominance.
Posted Oct 07, 2022
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Fire of Love
(2022)
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Kathryn Reklis
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Fire of Love reminds us that they are also art of the highest order, a demand on our minds and hearts to pay attention, maybe especially to that which we cannot easily understand.
Posted Aug 23, 2022
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Jurassic World Dominion
(2022)
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Kathryn Reklis
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The latest film seems to have forgotten one of the delights of dinosaur nerdery: imagining the world without humans.
Posted Aug 12, 2022
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Mr. Malcolm's List
(2022)
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Kathryn Reklis
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No attempt is made to explain, for example, how 19th-century England could have acquired the ornamental luxury that makes the period so glitzy...
Posted Jul 29, 2022
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Fire Island
(2022)
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Kathryn Reklis
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Every generation deserves its own adaptation of Pride and Prejudice, and Gen Z got a gem in Fire Island.
Posted Jul 29, 2022
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Downton Abbey: A New Era
(2022)
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Kathryn Reklis
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This seems to be what Fellowes wants most of all in his own work: to transport us to a make-believe world where we get the beautiful objects without brutality and inequality...
Posted Jul 11, 2022
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Everything Everywhere All at Once
(2022)
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Kathryn Reklis
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It has been a long time since I’ve seen a movie that both transported me so fully out of my mundane life and made me want to hug my kids and call my mom and appreciate my spouse’s penchant for corny jokes -- in this life, or in any others.
Posted Jun 02, 2022
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Turning Red
(2022)
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Kathryn Reklis
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Turning Red manages to take a viewer into these deep waters without losing the playfulness and silly humor that make it a top-notch family movie.
Posted May 04, 2022
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The Batman
(2022)
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Kathryn Reklis
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I didn’t think I wanted another Batman movie. But it turns out that Matt Reeves’s The Batman -- starring Robert Pattinson, who played Edward Cullen in the Twilight films -- has the Batman we need.
Posted Apr 08, 2022
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Moonfall
(2022)
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Kathryn Reklis
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If you accept that movies like this exist primarily for the aesthetic pleasures of CGI-enhanced disaster montages, there is an exuberant absurdity to Emmerich’s canon...
Posted Mar 14, 2022
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Don't Look Up
(2021)
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Kathryn Reklis
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Don’t Look Up ultimately feels like just one more disaster movie: it is far easier—and maybe even more fun—to imagine the apocalyptic end of the world than to imagine how we could live in a radically different way now to prevent it.
Posted Mar 14, 2022
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The Eyes of Tammy Faye
(2021)
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Kathryn Reklis
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This is Tammy’s spiritual gift, the movie suggests: an exuberant love of life and of other people that is fueled by her sense of God’s capacious, inexhaustible love...
Posted Feb 04, 2022
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The Power of the Dog
(2021)
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Kathryn Reklis
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In Campion's subversive new western, the filmmaker's fascination with the myth of masculinity unfolds in 1920s Montana.
Posted Jan 15, 2022
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Nine Days
(2020)
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Kathryn Reklis
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Neither the myth nor the morals of this movie held together for me.
Posted Sep 23, 2021
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The Green Knight
(2021)
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Kathryn Reklis
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These moral explorations are carefully handled, with clever inversions of timeline that produce just enough of a puzzle quality to give the viewer something to work out when leaving the theater. But the movie enthralled me most in its visual meditations.
Posted Sep 23, 2021
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In the Heights
(2021)
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Kathryn Reklis
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This is, of course, part of what makes great art: the capacity to withstand both devotion and critique. Which is a good thing, since I am confident that Miranda is going to be part of our soundtrack for many years to come.
Posted Jul 01, 2021
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Nomadland
(2020)
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Kathryn Reklis
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In the hands of these creators, fantasies about the West hold the seeds of something genuinely democratic, a powerful struggle of people to build a life of plenty and freedom together...
Posted Apr 19, 2021
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Bacurau
(2019)
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Kathryn Reklis
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Bacurau forces the American viewer to think about the entwined histories of enslavement, Indigenous massacre and displacement, and stolen labor that unite the Americas in a shared colonial past.
Posted Apr 19, 2021
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First Cow
(2019)
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Kathryn Reklis
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First Cow's most radical revision of the genre is to suggest how many stories about the West are buried from our view.
Posted Apr 19, 2021
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Locked Down
(2021)
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Kathryn Reklis
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It doesn't hold together in tone or plot, but as with its screwball predecessors, wacky antics are a ruse to explore what makes a relationship work.
Posted Mar 11, 2021
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One Night in Miami
(2020)
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Kathryn Reklis
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The actors channel their energy into the dialogue itself, which is in turns explosive and expansive, making philosophical debate about the role of art in social change feel like a sermon, a trumpet solo, and a boxing match all rolled into one.
Posted Feb 12, 2021
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Ma Rainey's Black Bottom
(2020)
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Kathryn Reklis
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The film, directed by George C. Wolfe and released by Netflix, is a poignant, masterful exploration of the dilemma of Black art in Jim and Jane Crow America.
Posted Feb 12, 2021
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Honeyland
(2019)
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Kathryn Reklis
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The film is a documentary, which reminds us that Hatidze's story ultimately is not an allegory. There really is a Hatidze. And we are better-beautifully, transcendentally better-for having met her in this film.
Posted Mar 12, 2020
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Star Wars: The Rise of Skywalker
(2019)
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Kathryn Reklis
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It turns out there isn't new darkness or new light - just the same old battle on franchise repeat. The galaxy is saved, once again, by a lone hero who has finally learned her rightful place in a very closed circle.
Posted Jan 16, 2020
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Queen & Slim
(2019)
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Kathryn Reklis
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The film's gift is to let us move and breathe with [Queen and Slim] in the intimate quiet of their own indeterminate world.
Posted Dec 23, 2019
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Parasite
(2019)
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Kathryn Reklis
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Bong Joon-ho's magnificent genre-bending movie Parasite is a funny, deeply satirical look at class divisions, told through the intersecting lives of three families in Seoul.
Posted Nov 21, 2019
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Once Upon a Time... In Hollywood
(2019)
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Kathryn Reklis
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Tarantino clearly believes in the catharsis of fictional violence-as its title suggests, Once Upon a Time is a kind of fairy tale, and it is deeply compelling.
Posted Aug 29, 2019
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Deadwood: The Movie
(2019)
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Kathryn Reklis
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Though the movie does not have the same depth as the three-season series, it offers some new insights on the motley band of humans... who are trying to do right by each other in the face of monopoly capitalism and a political system ruled by the wealthy..
Posted Aug 02, 2019
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The Best of Enemies
(2019)
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Kathryn Reklis
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All we get of the charrette in the film is a briskly paced montage set to music of black and white participants talking, eating meals, debating, drafting proposals, and voting. We barely hear any of their actual conversations.
Posted May 03, 2019
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Us
(2019)
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Kathryn Reklis
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It is a testimony to Peele's power as a filmmaker that he weaves this overwhelming idea into an absorbing and even enjoyable film. He got the genre right: we should be terrified.
Posted Apr 11, 2019
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Mary Poppins Returns
(2018)
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Kathryn Reklis
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Mary Poppins Returns sings this same song in a new key, but it rings a little hollower 55 years later. We may need more than magical childhoods to cure what ails us now.
Posted Jan 18, 2019
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Roma
(2018)
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Kathryn Reklis
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Having broken through the haze of childhood memory, Cuarón knows that those forces of power - and the race, class, and gender dynamics they set in motion - define the complex intimate relationships between domestic workers and their employers.
Posted Dec 21, 2018
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The Hate U Give
(2018)
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Kathryn Reklis
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The movie is adapted from the young adult novel by Angie Thomas, and the tropes of that genre-a first-person narrative about finding oneself on the way to adulthood-allow it to strike boldly at the emotions that more detached grown-up dramas might avoid.
Posted Nov 21, 2018
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The Oath
(2018)
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Kathryn Reklis
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Jokey white bro solidarity doesn't seem like the kind of understanding across difference that we need now.
Posted Nov 21, 2018
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