"If you’re going to watch WAYWARD, be warned. You may want to turn it off before the finale and make up your own ending,” writes Cristina Escobar on the new Netflix series.

With the first season of ALIEN: EARTH having wrapped, @zacharylee.bsky.social speaks w/ stars Babou Ceesay & Sydney Chandler about the arc of their cyborg and hybrid characters. They discuss the importance of practical effects and their characters inverted journeys.

In his final dispatch from Fantastic Fest, @briantallerico.bsky.social reviews CAMP, BAD HAIRCUT, THEATER IS DEAD & praises how the festival is “a remarkable showcase for inclusivity … that elevates the kind of voices that the Hollywood system often ignores.”

“While ELEANOR THE GREAT never quite recovers from the moral issue at its center, Squibb’s lively performance makes it memorable,” writes @mcastimovies.bsky.social about Scarlett Johansson’s directorial debut, which arrives in theaters now.

"It might not be all that good when binged all at once. But consumed in moderation on a gloomy day, it could be the cure for what ales ya," writes @clintworthing.bsky.social on Netflix's HOUSE OF GUINNESS.

Netflix gets into the boozy SUCCESSION business with HOUSE OF GUINNESS, a show where the sex and revolution and palace intrigue flow as recklessly as a generous draught from a tipsy bartender. (Beware, more beer puns ahoy.) For @ebertvoices.bsky.social: www.rogerebert.com/reviews/hous...

“It lacks some of the spark of the best of the show, in part because of a rushed plot and the characters it chooses to highlight and sideline,” writes @briantallerico.bsky.social about the familiar and waning comforts SLOW HORSES’ fifth season.

"Although it provides some intriguing character dynamics and a glimpse into the post-apocalyptic world, the series is so hurried that it fails to deliver a compelling and well-developed story,” writes @rendy.bsky.social about the squandered potential of MARVEL ZOMBIES.

“HOTEL COSTIERA goes down easy, but it doesn’t capitalize on the buzzy possibilities of the sub-genre,” writes Sherin Nicole about the Prime Video series.

In his latest dispatch from Fantastic Fest, @briantallerico.bsky.social writes about a trio of carry-overs from other festivals that arguably played better with the Austin crowd: MĀRAMA, MOTHER OF FLISE, & BULK.

“It does what an action sequel should do and builds on it instead of just repeating the same barely-controlled chaos. This movie rules,” writes @briantallerico.bsky.social about SISU: ROAD TO REVENGE.

“COYOTES is a movie that frustrates more than it thrills, never quite finding the right tone for the most harrowing night in the lives of its characters,” writes @briantallerico.bsky.social about director Colin Minihan’s creature feature.

"Journalists and comedians are very good at revealing that the emperor has no clothes. This assault on information, comedy, journalism, and tough questions is reckless, undemocratic, and terrifying,” writes @nellminow.bsky.social.

In his latest dispatch, @briantallerico.bsky.social reviews NIGHT PATROL, DOLLY, & DINNER TO DIE FOR, which are all “varying degrees” of good and entertaining.

“FX’s THE LOWDOWN proves that in addition to being a master storyteller, writer/director Sterlin Harjo is just as skilled at assembling an equally dynamite cast and crew who, together, have delivered one of 2025’s best new series,” writes Nandini Balial of the series.

"Dakota Fanning gives a committed performance but VICIOUS gets more frustrating as one realizes it’s not going to come together as much as be content to rip its protagonist apart,” writes @briantallerico.bsky.social about the Paramount+ film.

"It turns out the creators of this cash grab are aggressively unwilling to go much of anywhere at all,” laments @briantallerico.bsky.social about THE STRANGERS: CHAPTER 2.

“This movie knows what to do and how to do it. It’s as no-nonsense as the soldiers and the underwater killing machine it pits against each other,” writes @briantallerico.bsky.social on the shark war movie mashup.

“BLACK PHONE 2 is best when it leans into surreal nightmare logic, but this weird movie works its fear factor in unexpected, creative ways,” writes @briantallerico.bsky.social about the horror sequel.

“The stories have the same tone: a tongue-in-bloody-cheek sense of humor and willingness to go beyond perceived decorum. Keep your elevated horror. Let’s get down in the muck,” writes @briantallerico.bsky.social about V/H/S/HALLOWEEN

“SHELBY OAKS is a film that plays like a checklist of clichés, a movie that so aggressively employs techniques we’ve seen work better elsewhere that it becomes almost numbing,” writes @briantallerico.bsky.social.

"Nobody really wants surprises in a fact-based underdog comeback story. What we want is stakes, a flawed but sympathetic hero, and maybe a bit of wish fulfillment for anyone who’d like a do-over,” writes @nellminow.bsky.social in praise of THE SENIOR.

"By making a film that says there is no complicated legacy to Riefenstahl, Veiel’s uncomplicated … is strongly rendered into a direct, inarguable slashing of Riefenstahl’s importance,” writes @812filmreviews.com about RIENFENSTAHL.

“PRISONER OF WAR may sometimes deliver what you hope for, but it’s an otherwise sloppy outing for Adkins, who by now should expect more from himself and his audience,” writes @simonsaybrams.bsky.social.

"Watching Coppola land on his head and then pick himself back up again and point himself at another brick wall is ultimately strangely inspiring,” writes @glennkenny.bsky.social about MEGADOC.

"The form evokes how the character experiences the narrative,” writes @carlosfilm.bsky.social about the kinetic visual vitality of director Carmen Emmi’s PLAINCLOTHES. www.rogerebert.com/reviews/plai...

"It's another strong work from this increasingly impressive filmmaker, one who never approaches a subject in the same way,” writes @briantallerico.bsky.social on Alexandre O. Philippe’s latest documentary, CHAIN REACTIONS. www.rogerebert.com/reviews/chai...

“DOIN’ IT is more of a fling than one for the books, but it’s a fun one, nonetheless,” writes @mcastimovies.bsky.social.

“Allan Ungar’s assassin turned subverted buddy-cop film, LONDON CALLING, takes a long time to get on its feet, and once it does, it still stumbles there. It’s a bit of a tropey mess, but the intent is clear: to have fun,” writes Peyton Robinson.

“I saw two movies that most of the Bible Belt would call downright blasphemously chaotic,” writes @briantallerico.bsky.social in his first dispatch out of Fantastic Fest. Read on for reviews on PRIMATE and BRIDE OF RE-ANIMATOR. www.rogerebert.com/festivals/fa...

“It's a horrifying job to see humanity’s worst right before your very eyes and then go home at the end of the day." @zacharylee.bsky.social speaks with Lili Reinhart about AMERICAN SWEATSHOP, how to stop doomscrolling, & the film’s surprising connection to WALL-E. www.rogerebert.com/interviews/a...

“It's still fun, even if it can get easy to get lost, so to speak, in the weeds,” writes @clintworthing.bsky.social about season 3 of TULSA KING.

“THE SUMMER BOOK is a haiku of a movie, conveying profound thoughts about time, memory, loss, and nature through a simplified, meditative, cinematic language of exquisite images and gentle music,” writes @nellminow.bsky.social.

“It was the user experience of the film—where its simplistic narrative design leaves no surprises and plenty of shallow characters—that felt unsatisfying,” writes @mcastimovies.bsky.social about the biopic, SWIPED. www.rogerebert.com/reviews/swip...

“A BIG BOLD BEAUTIFUL JOURNEY illustrates a principle endorsed by many legendary directors: Casting the right leads will get you ninety percent of the way to success,” writes @mattzollerseitz.bsky.social on Kogonada’s latest film.

"This festival is the heart of my entire cinemagoing year. This is an annual selection of films that has nourished me for more than half of my own life, and I wish that it will continue to do so,” writes @filmfest.bsky.social in his reflection on this year’s TIFF. www.rogerebert.com/festivals/ti...

“We wanted to focus on his magnetic presence on screen in 11 of our favorite performances, a sampling that just skims the surface of this man’s underrated range.” Read on for our contributors picks for some of the late Robert Redford’s most notable roles. www.rogerebert.com/features/the...

"By the end of BLACK RABBIT's eight hours, it’s hard to know what to make of it besides an exercise in narrative agony,” writes @clintworthing about the new eight-part miniseries.

"Putrid and hollow, Justin Tipping’s brain-dead football horror film, which somehow managed to secure the backing of producer Jordan Peele, is incomprehensibly bad,” writes @812filmreviews.com about HIM.

"It’s only a matter of time before the whole thing comes crashing down in a heap of self-important nonsense,” writes Richard Roeper in his review of season 4 of THE MORNING SHOW. www.rogerebert.com/streaming/th...

“It's a remarkably propulsive, fun, and eventually moving piece of work about the human beings caught up in the chaotic machine,” writes @briantallerico.bsky.social in his 4/4 star review of ONE BATTLE AFTER ANOTHER.

“The series delves deeper into how we push children to see themselves as products that can be sold to a broader audience, rather than as individuals who can exist beyond the bounds of consumption,” writes Kaiya Shunyata about GEN V’s sharp 2nd season.

In her final dispatch from TIFF, @mcastimovies.bsky.social reviews more big premieres , scribing about HAMNET, DRIVER’S ED, & EPIC: ELVIS PRESLEY IN CONCERT. www.rogerebert.com/festivals/ti...

"Robert Redford was a titan. He used all 89 years of his life to make a difference. His legacy isn’t just intact, it will continue to flow,” writes @briantallerico.bsky.social in his eulogy to the actor, director, activist, and mentor.

In his latest dispatch from TIFF, @zacharylee.bsky.social reviews three films, ETERNAL RETURN, NUREMBERG, & CAROLINA CAROLINE, that all tackled how our pasts, if not properly reckoned with, can return to bedevil in pugnacious ways. www.rogerebert.com/festivals/ti...

"Peck is clear-eyed about what he wants to say in the film, even if the documentary itself doesn’t quite capture those sentiments,” writes @mcastimovies.bsky.social about ORWELL: 2+2=5.

"When you don’t have a clear blueprint, it makes you feel like it might not work, but I always felt that, if the story itself worked, the movie would work.” @isaacfeldberg speaks with James Sweeney and Dylan O’Brien about their sharp-witted and isaacfeldberg.bsky.social film, TWINLESS.

“THE THREESOME ends up kind of a mixed bag, cute but a bit disjointed,” writes @mcastimovies.bsky.social.

"It’s required viewing for any Bresson completist, and will prove fascinating to viewers with the patience for a nighttime drama about people who love foolishly, with all of their heart,” writes @mattzollerseitz.bsky.social about FOUR NIGHTS OF A DREAMER, which has received a 4K restoration.

"Linklater has crafted one of his finest dramedies, a consistently fascinating exploration of the frailty of the artist, buoyed by one of Ethan Hawke’s most remarkable performances,” writes @briantallerico.bsky.social abt BLUE MOON. www.rogerebert.com/reviews/blue...