Sure, the plot's a mess. But Robert Downey Jr. and writer/director Shane Black keep the focus where it belongs: on the man, not his armor.
Is the director's hypnotism thriller good? Bad? It's hard to say—maybe it's both.
Fede Alvarez's remake of the 1981 Sam Raimi classic is a stylish, inventive, gruesome homage.
Why we'll miss him
Does Pixar's worsening case of sequel-itis mean the studio's heyday is already past?
The third season of HBO's dazzling fantasy epic is even better than the previous one.
Why can't Tina Fey extend her domination of the small screen to the big one?
Park Chan-wook's first movie in English may be more conventional than his earlier films, but it's still a sleek, nasty thriller.
More critiques of critiques of my critique of modern-day romantic comedies
Critiquing a critique of my critique of modern-day romantic comedies
The Atlantic's film critic picks out this year's Oscar winners
The long decline from Katharine Hepburn to Katherine Heigl
DreamWorks' 'The Croods,' David Gordon Green's 'Prince Avalanche,' and more
Notes on Richard Linklater's 'Before Midnight,' Fredrik Bond's 'The Necessary Death of Charlie Countryman,' and others
Notes on Wong Kar-Wai's latest, Joseph Gordon-Levitt's directorial debut, and 'Lovelace'
New evidence of a God complex emerges.
Steven Soderbergh's latest confounds expectations with outstanding panache.
Sure, the premise is creepy, but Nicholas Hoult brings life to an undead role.
So long as his 'Star Trek' affiliation doesn't annihilate the known universe, there's reason for optimism.
So broken that it takes a diagram to untangle it