Sean Burns

Starring Meryl Streep and Anne Hathaway, the film catches up with Miranda and the gang from Runway magazine in a media landscape that’s been obliterated by smartphones and social media. WBUR film critic Sean Burns reviews.

The remarkable first feature from Canadian writer-director Sophy Romvari is "about how we can spend our entire lives trying to understand what happened to us when we were children," reviews critic Sean Burns.

While the two actors have never worked together, they've made surprisingly similar career choices. The Somerville Theatre screens 24-film series of double features May 17-July 11, and what's delightful is "how perfectly their movies tend to complement each other," writes film critic Sean Burns.

Writer-director Curry Barker and creative partner Cooper Tomlinson parlayed their YouTube channel “That’s a Bad Idea” into this big-screen debut about a guy who wishes his dream girl would love him back. While a rollicking ride, "this is not a film for food critics or cat lovers," warns critic Sean Burns.

Hungarian filmmaker Ildikó Enyedi’s woozy and beguiling new film spins a trio of tales in which students and teachers at a German university long to be heard, viewed from the POV of a centuries-old gingko tree.

An early summer festival of bad vibes, “Bleak Week: Cinema of Despair” touts 13 titles that touch on grief, war, illness, and more. WBUR film critic Sean Burns writes that the screenings feel "necessary and even fortifying now that the world around us is such a precipitous shambles."

Based on the 1957 novel "The Executioners," the series stars Javier Bardem as an ex-con hovering around the lawyers (Amy Adams and Patrick Wilson) who put him in jail. "There’s simply no sane way to take such a simple, straightforward premise — psycho stalks family — and drag it out for 10 hours," writes critic Sean Burns.

World War III simmers in the background of “Disclosure Day.” It's with the North Koreans, I think.

Starring Hugh Jackman, writer-director Michael Sarnoski's film is the medieval equivalent of a moody, revisionist Western. "It’s a story about the stories we tell ourselves, and how we can’t help cleaning them up for our children," writes critic Sean Burns.

Poor Kara Zor-El. I was nine years old in 1984 when the original “Supergirl” movie came out, and it was a formative experience for this young critic