Barry Jenkins’ beautiful and brutal adaptation of Colson Whitehead’s alternative history, ‘The Underground Railroad’, indulges in compelling retro Afrofuturism.
While historian Niall Ferguson’s broad survey of human catastrophe, Doom, has erudition, insight, and sweep, it is frequently derailed by contrarian carping.
Ronald Brownstein’s ode to ’70s Los Angeles is, like so many California stories, less about a sustained moment than a bright and briefly thrilling mirage.
Fear of unseen powers causing public tragedies was so widespread in 1974 America that filmmakers knew audiences would believe the corporate murder machine of The Parallax View.
Yang Jisheng's remarkable historical autopsy, The World Turned Upside Down, is scrupulous in detailing the Cultural Revolution's horrors and insanities but too often leaves out the human side of history.
While this roustabout story about Herman Mankiewicz's battle to write the Orson Welles classic is clearly impressed with itself, Mank is easily David Fincher's best work since Zodiac.
Ryan Murphy's Netflix adaptation of the satirical musical about Broadway stars inserting themselves into a same-sex school dance controversy, The Prom, hits his sweet spots and his weaknesses.