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  • ‘The Chair’

    Sandra Oh's always been funny and "The Chair" gives her ample room to show it in a campus setting.

  • ‘Reservation Dogs’

    FX's new series created by Sterlin Harjo and Taika Waititi is cast, written, and directed entirely by Indigenous people.

  • ‘Mr. Corman’

    "Mr. Corman" has trouble finding much of anything new to say about a thirtysomething year-old man stuck in his own boring life.

  • Critics Pick

    ‘The Suicide Squad’

    Back from the wilderness, James Gunn delivers the cunningly scuzzy throwaway that the first "Suicide Squad" should have been.

  • ‘Free Guy’

    Ryan Reynolds carries this unwieldy mashup of various meta-reality hits, recombined to yield a surprisingly original, video game-set rom-com.

  • ‘Annette’

    Where other musicals use song to send audiences into orbit, Sparks' maiden effort drags us under with repetitive lyrics.

  • ‘Jungle Cruise’

    Dwayne Johnson and Emily Blunt have a plucky chemistry in a fantasy adventure so rollicking it turns romance into one more visual effect.

  • Pop Smoke’s ‘Faith’

    The list of guest stars expands substantially on Pop Smoke's "Faith" — from Kanye West to Dua Lipa — but so does his thwarted palette.

  • Clairo’s ‘Sling’

    Clairo's second album "Sling," a collaboration with Jack Antonoff, is a power-pop triumph loaded with vintage sounds evoking the early '70s.

  • Sault’s ‘Nine’

    The British R&B collective Sault has released its fifth innovative, socially conscious album in two years — available for just 99 days.

  • ‘Bach & Sons’

    A potentially fascinating play about Johann Sebastian Bach is marred by miscasting in Nicholas Hytner's world premiere production.

  • ‘Seven Deadly Sins’

    The Meatpacking District's newest unholy attraction tests the limits of how far live theater can go amid a global pandemic.

  • ‘Under Milk Wood’

    Michael Sheen leads the cast of "Under Milk Wood," a tender but fitful reimagination of Dylan Thomas' celebrated play.

  • ‘After Life’

    Based on Hirokazu Kore-eda's 1998 film, the play explores a fascinating idea, but it never comes alive as a fully-fledged drama.