The dog days of motherhood.ImageAmy Adams channels her feral side in “Nightbitch,” directed by Marielle Heller.Credit...Searchlight Pictures‘Nightbitch’

Amy Adams stars as a stay-at-home mother who turns into a feral dog in this adaptation of Rachel Yoder’s novel directed by Marielle Heller.

From our review:

The movie doesn’t need to convince its target audience that there’s something gravely wrong with contemporary American motherhood. … Every thinking woman who watches “Nightbitch,” and a fair share of men, too, already know that score. Given this, it’s frustrating how eager to please the movie is.

In theaters. Read the full review.

Critic’s Pick

Going out with a bang (and a song).ImageTilda Swinton in “The End.”Credit...Felix Dickinson/Neon‘The End’

This musical directed by Joshua Oppenheimer follows a well-off family (led by Michael Shannon and Tilda Swinton) in their lavish underground bunker as the world literally burns above them.

From our review:

“The End” is about one version of the end of the world, and about how the people who could have prevented it might feel when they get there. But to watch it is to think about yourself, at least if you have a conscience, and to ponder the sort of cognitive dissonance you live with every day.

In theaters. Read the full review.

Critic’s Pick

Two sisters in a singular drama.ImageMarianne Jean-Baptiste, left, and Michele Austin play polar-opposite sisters in “Hard Truths,” directed by Mike Leigh.Credit...Simon Mein/Thin Man Films Ltd, via Bleecker Street‘Hard Truths’

The latest from the writer-director Mike Leigh centers on two sisters, Pansy (Marianne Jean-Baptiste) and Chantelle (Michele Austin), who have vastly different dispositions and outlooks on life.

From our review:

Leigh doesn’t put his characters on the couch or disgorge the traumas that are etched in every word and gesture. He doesn’t smooth any edges, express his views on race and class, nature and nurture, or float theories as to why Pansy seems so damaged while Chantelle shoulders life with grace. Instead, with deep feeling and lacerating and gentle words, Leigh creates a world that, like the vast, mysterious one hovering outside its frame, can seem agonizingly empty if you can’t see the people in it.

In theaters. Read the full review.

Critic’s Pick

Richard Gere and Jacob Elordi in confessional mode.ImageRichard Gere in “Oh, Canada.”Credit...Kino Lorber

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