The Ithacan

“Her Smell,” an indie drama from writer and director Alex Ross Perry, is painfully slow in spite of the pure chaos it depicts.

For decades, horror movies have replicated the hard work “The Exorcist” did in 1973 to produce one sleek but soulless thrill ride after another.

“Missing Link” is a visually spectacular stop-motion film about friendship and finding one’s place in the world.

“Little” opens with obligatory narration — “Allow me to introduce myself” — but there is nobody going to see “Little” who won’t realize immediately where it’s headed.

Neil Marshall’s “Hellboy” (2019) has the aesthetic sensibility of a Hot Topic: It’s cheap, insincere and reminds you of other places you’d rather be and other films you’d rather see.

With the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury, “Shazam!” is one of DC’s best big screen adaptations in the past six years.

“After” takes a problematic fanfiction and turns it into a frustrating and predictable movie.

If an ominous phantom tells you not to mess with the barrier between life and death, you’d think you should listen to him.

Disney’s live-action remakes have hit a rocky point as they adapt one of its more unusual characters in “Dumbo.” Directed by Tim Burton, “Dumbo” seeks to recreate the 1941 animated classic on a larger scale, and it succeeds occasionally, but not enough to distract from its lack of pizazz.

“The Beach Bum,” a movie written and directed by Harmony Korine, is about exactly what one might expect from the title, and absolutely nothing more.

Few images have been burned into the American consciousness like the young robbers’ violent demise in Arthur Penn’s “Bonnie and Clyde.” Bullets punch through the car into Bonnie and catch Clyde in an agonizing slow-motion free-fall, a haunting, iconic scene that looms over John Lee Hancock’s new Netflix drama, “The Highwaymen.” It’s about the Texas Rangers who riddled Bonnie and Clyde with bullets, and Hancock’s film never leaves the shadow of Penn’s 1967 take on the story.

One question plagues the audience throughout “The Dirt”: At what point in the movie is the audience supposed to accept sweet and baby-faced Douglas Booth as the hard-rocking, heroin-shooting, Jack-Daniels-bottle-smashing Nikki Sixx?