"While initially jarring, Miyazaki’s unapologetic deviations from fact help The Wind Rises to transcend the linearity of its expected structure, the film eventually revealing itself to be less of a biopic than it is a devastatingly honest lament for the corruption of beauty, and how invariably pathetic the human response to that loss must be. Miyazaki’s films are often preoccupied with absence, the value of things left behind and how the ghosts of beautiful things are traced onto our memories like the shadows of a nuclear fallout, and The Wind Rises looks back as only a culminating work can… an indelible reminder that the only way we dishonor the things we’ve lost is by forgetting how necessary it was for us to love them."

MAD MAX: FURY ROAD // Time Out New York
"The fourth installment of George Miller’s rambunctious post-apocalyptic saga arrives in theaters like a tornado tearing through a tea party. In an age of weightless spectacles that studios whittle down from visions to products, here’s a movie that feels like it was made by kidnapping $150 million of Warner Bros.’ money, absconding with it to the Namibian desert, and sending footage back to Hollywood like the amputated body parts of a ransomed hostage."

JURASSIC WORLD // Little White Lies
"More than two decades after John Hammond’s beta test imploded in grand fashion, his dream has been realised and then some. Isla Nublar is now dominated by a theme park that makes Disneyland look like a street fair, the dinosaurs inhabiting a corporate paradise crisscrossed by monorails and overrun with families of tourists — there’s even a Starbucks (hell, there’s even a Margaritaville with Jimmy Buffett himself serving drinks). Once upon a time, the science required the money. Now, the money requires the science. Life funds a way."

ENTOURAGE // Time Out New York
"Once upon a time, in a magical place known as 2004, the saga of rising Hollywood star Vincent Chase (Adrian Grenier) and the trio of chauvinistic half-wits who clung to his coattails was able to blossom into a fable about how loyalty breeds success. In 2015, however, bros only come before hos alphabetically, and what once felt like an innocent tale of wish fulfillment now plays like the masturbatory fantasy of a men’s-rights activist."

"It’s difficult to critically engage with 
Citizenfour, as—experienced in the here and now—Laura Poitras’ landmark documentary about Edward Snowden isn’t a film so much as a big fucking deal. A primary account of how the world learned that the NSA has been spying on United States citizens, and also a meta-text that implicitly validates the information it uncovers, Citizenfour offers a remarkably intimate look at history as it happened. In fact, the immediacy of Poitras’ film is so remarkable that her craft is likely to be overshadowed by her access, her storytelling overshadowed by her opportunity."