The director's odd but fascinating film poses searching questions.
It lacks the magic of its predecessor, but the latest outing with Kermit & Co. is a likable ride.
Wes Anderson's latest film is among his daffiest—and also, arguably, his most grown up.
What if the killer's identity is a next-generation prototype of network cross-marketing?
Some educated guesses regarding where the HBO show may be headed
The ceremony's structure may not show what will win, but it shows what the producers think will win.
The Atlantic's film critic weighs in on the underrated, the overrated, and why viewers can expect a big night for 12 Years a Slave, Dallas Buyers Club, and Gravity.
The first published works from the creator of the best show on television were dark, philosophical pieces of fiction in The Atlantic.
The entirely unnecessary remake isn't awful. But it's not good either.
Could HBO's latest hit be helping pave the way for a new form of storytelling?
All the pieces fit—vocal cast, animation, inside gags—in this trans-generational crowd pleaser.
The late actor could make unforgettable a gesture as tiny as flipping his sunglasses.
An extended unpacking of why director Jason Reitman's latest movie is (by far) his worst
The Academy speaks. Our critic talks back.
The Hollywood Foreign Press Association spreads the wealth in a strong movie year.
Scorcese's new film is fast, funny, filthy—and among his best of the last 20 years.
Why so many screen adaptations of the work of America’s most cinematic novelist are so bad—and what makes the exceptions, like TV’s Justified, so good
Thoughtful, elegant, and moving, Spike Jonze's film about a man in love with his operating system is a work of sincere and forceful humanism.
The Atlantic's film critic picks the top titles—and doles out some less-conventional awards.
The second installment of Peter Jackson's interminable trilogy proves, again, that more is less.