Reviews
Here are the best TV shows, movies, books, comics, and music to read, watch, and listen to right now.
And other books that will broaden your horizons.
Francis Ford Coppola’s CGI ball of optimism, explained as best we can.
In the deeply-felt Intermezzo, the celebrity novelist plays chess with God.
Every dish is beautiful and no one is hungry.
Horizon is a baffling, incoherent mess. Kevin Costner making it was probably inevitable.
Alicent’s green dress gives us the skeleton key to the Targaryen schism.
The iconic character could have gone terribly wrong. Here’s how she survived.
The fractured friendship between Pen and Eloise centers the Netflix hit.
The good, the bad, and the Bene Gesserit of Dune: Part Two.
The hugely anticipated remake delivers on the drama, charm, and spectacle of the original.
What True Detective’s fourth season gets wrong about True Detective.
The first novel by the acclaimed short-story writer is magical, strange, and just a tad too slow.
The author of Such a Fun Age returns with a hit-and-miss sophomore effort, tracing lines of power with money.
It’s a great time to be at the movies.
Stone reunites with The Favourite director Yorgos Lanthimos for a lovable movie from one of our prickliest filmmakers.
Jeffrey Wright gives a career-crowning performance in this wry and surprisingly warm-hearted race satire.
From buzzy novels to literary biographies, Vox’s book critic breaks down the year in reading.
Jonathan Glazer’s new film dismantles simple cliches about the banality of evil.
A director, a worldview, a vibe, and a love of cute hats.
The Netflix film adaptation, based on the bestselling novel, savagely skewers yuppie vacationers.
The Hunger Games prequel finds a new wrinkle in a story we thought we knew.
Patrick Dempsey and TikToker Addison Rae star in an overbaked entry into the holiday horror genre.
Solitude and wisdom at the movies.
What to know about the new collaboration between Nathan Fielder, Benny Safdie, and Emma Stone.
Gen V’s season-long satire of college sports, superheroes, and capitalism comes to a wicked end.
The final scenes of Martin Scorsese’s recent films are part of a larger project.
Martin Scorsese knows that who gets to tell the story matters as much as the story that gets told.
I’m not convinced any of these people have ever behaved inappropriately with a corpse!
Wes Anderson’s new Netflix shorts are the latest case for the form.
The anger of entitled “good guys.”
The Exorcist: Believer shows how American religion and Hollywood movies have shifted.
Savior Complex, The Mission, and the culture behind toxic missionary work.
In Walter Isaacson’s buzzy new biography, Elon Musk emerges as a callous, chaos-loving man without empathy.
Groff’s latest is an un-put-down-able story of survival.
The Fraud, a Victorian novel for the post-Trump era, is elegant, flawed, and sharp as a knife.
Christopher Nolan’s masterful epic continues his long-running obsessions.
Turns out Greta Gerwig’s Barbie movie is a Biblical metaphor after all.
In Mission: Impossible — Dead Reckoning Part One, Tom Cruise once again leads a franchise that’s all about trickery, subterfuge, and the nature of reality itself.
The new Indiana Jones movie hits different in the IP age.
Once Upon a One More Time is a lumpy slurry of Britney Spears, Cinderella, and Betty Friedan. For some reason, it’s part of a bigger trend.