GODLESS
The late William Friedkin’s classic is reanimated yet again, but it’s already time to dig its grave.
Nick Schager is the Entertainment Critic for The Daily Beast, covering everything great (and not-so-great) in the worlds of film, TV, music, and pop culture. A graduate of Johns Hopkins University and the Columbia University Graduate School of Journalism, his work has also appeared in Variety, Esquire, Entertainment Weekly, Rolling Stone, Vulture and dozens of other entertainment publications.
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BURDENED WITH GLORIOUS PURPOSE
The show was one of Marvel’s early Disney+ bright spots. The sheen has worn off.
LIKE THERE’S NO TOMORROW
The two leads give steamy, sweaty, sensual performances in “Foe,” but the sci-fi thriller does them dirty.
FRONTRUNNER
With “Poor Things” continuing its festival run in New York, the buzz that this is a gonzo, sexual, twisted masterpiece is only getting louder.
NEXT GENERATION
The spinoff of Prime Video’s go-for-broke superhero series follows its tradition of trademark gore, perverse comedy, and sharp social comedy—as well its phallus obsession.
NO SAVIOR
Gareth Adwards’ epic was supposed to prove the value of original ideas in a sea of sequels and spin-offs. But it’s so unconvincing, you’ll miss those IP-driven affairs instead.
HISS
This thriller is one of the best cases yet for Benicio Del Toro being an A-list movie star—if only the script lived up to its lead actor.
TIME TO END IT
Sylvester Stallone’s ailing franchise has the potential to be goofy fun, but instead dispenses nothing more than third-rate thrills and surprises.
MAJOR DISAPPOINTMENT
Whoever thought Mel Gibson would be a suitable replacement for Keanu Reeves—coolest guy in Hollywood—should look for a new job.
THE MASTER
“The Wonderful Story of Henry Sugar,” based on Roald Dahl’s short story, is Wes Anderson at his cinematic best—a charming, electric act of showmanship.