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.
The first trailer suggests director Joss Whedon may be over-indulging his penchant for making characters suffer.
Brad Pitt’s WWII tank epic is a triumph of technique—and a failure of storytelling.
Director Jason Reitman's latest film is pinched, preachy, and pretentious.
Though director David Fincher may over-Fincher-ize somewhat, he delivers a sleek, faithful adaptation of the bestselling thriller.
Where we stand, 16 movies later
A circular folk-music odyssey