The main question you have to ask yourself when deciding if you’re going see this movie is “Does seeing Michael Keaton put on the ol’ Batsuit and once again speak aloud an ad-libbed catchphrase justify spending more than two hours with multiple versions of Ezra Miller and some pretty substandard CGI?” 

Hasbro’s robots in disguise get a competent reboot in the latest iteration.

Across three decades of directing and screenwriting Nicole Holofcener has long established herself as being incredibly good at making movies about grown ups with small problems that can also feel as big as the whole world.

In their fourth collaboration, director Kelly Reichardt and Michelle Williams reunite to bring a sensitively-rendered portrait of a working artist to the screen. Cinema is typically more interested in depictions of budding geniuses, dramatically troubled, foolishly unrecognized who go on to break history with blockbuster shows, but that’s never been Reichardt’s territory. Instead, working from a script written with frequent collaborator Jon Raymond, she centers the narrative in present-day Portland in the week leading up to a working ceramicist’s show at a neighborhood gallery show. What the film eschews in terms of fireworks are easily lifted by the rich textures that it observes.