The movie adaptation of E. L. James's bestseller succeeds in toning down the book's most egregious elements—but reveals that there's very little left underneath.
Matthew Vaughn's new film about an elite intelligence service combines winking spy-film tropes with impeccably choreographed (and very violent) action.
The Jennings finally made up. By suffering together through an amateur root canal.
From its damsel-in-distress lead to its ridiculous animal hybrids, the Wachowskis' $175 million space opera is an utter mess.
Can Philip and Elizabeth's marriage survive the third season?
Kevin McDonald's submarine thriller may not be a masterpiece, but the Jude Law-led genre movie stands out at a time when very little else at the multiplex does.
The packed third-season premiere threw viewers (and Paige) in at the deep end.
Chris Hemsworth grunts his way through Michael Mann's woeful sop to global audiences.
Oscar Isaac dazzles in J. C. Chandor’s gripping, understated thriller.
Director Ava DuVernay wisely focuses her sober, stately film on a few critical months.
The Atlantic's film critic picks the top titles—and doles out some less-conventional awards.
Not only does Peter Jackson's trilogy fail on its own terms, it retrospectively diminishes the Lord of the Rings' success.
With its first-rate effects and haphazard cast, Ridley Scott's biblical epic is a movie full of sound and fury, signifying nothing.
The modestly amusing spinoff, assessed by its target demographic
Would it have been better if they hadn't split it in two? Probably. But it's still awfully good.
Director Bennett Miller's latest—starring Channing Tatum, Steve Carell, and Mark Ruffalo—is expertly crafted but emotionally remote.
The announcement of Toy Story 4 is the latest sign that the studio has come down with a bad case of sequel-itis.
Christopher Nolan's latest film may be inane at times, but it's refreshing in its scale and ambition.
The actor channels early De Niro in his best performance to date.
Director Alejandro Gonzalez Iñárritu and cinematographer Emanuel Lubezki deliver one of the year's best—and oddest—films.