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.
A critic responds to his critics, and unpacks the worst scene in the movie
The movie knows little—and cares less—about how people fall in love.
The second installment of the franchise is a substantial improvement over the first.
Reading is good. Nazis are bad.
Chris Hemsworth and Tom Hiddleston elevate the peculiar sci-fi/fantasy hybrid above the original.
Director Steve McQueen's stunning new film is likely to prove the best of the year.
Director Paul Greengrass's piracy tale is riveting, even if (unlike me) you can ignore the current parallels.
Despite some rough patches in the script, Alfonso Cuaron's film is a visual wonder.
The best thing about Ron Howard's latest film may be that it knows what it is.
Missing fingers, Christmas, a Hispanic Scott Baio—director Shane Black proves that imitation is the sincerest form of self-flattery.
Debuting this week, Joss Whedon's Avengers spinoff aims high.
Or perhaps both? The well-wrought serial killer film starring Hugh Jackman and Jake Gyllenhaal defies easy categorization.
With a PG brain and a NC-17 body count, the Luc Besson-directed De Niro vehicle is a cinematic Frankenstein.