The film is the latest in a line of movies about motherhood and pregnancy that both reflect and reinforce traditional gender roles.
Though Denzel Washington has his moments in the lead role, Antoine Fuqua’s remake is uninspired and unnecessary.
The animated film from the writer of Forgetting Sarah Marshall is about parenthood … and corporate culture … and work-life balance.
A TV reboot of the 1971 novel and its film adaptation debuts this week, but the deeper religious themes of the original story might be lost on contemporary American viewers.
The director Adam Wingard’s sequel is a tediously familiar horror-hike.
Oliver Stone’s new film is a perfunctory biopic about the NSA’s international surveillance programs that lacks his trademark fearlessness.
The third film about the British everywoman is sharp, well-written, and extremely funny.
Despite an excellent performance by Tom Hanks, Clint Eastwood’s hagiographic biopic loses its way.
East Asian actors are still stuck in supporting roles in big-budget action movies, even as Hollywood tries to court the Chinese box office.
Derek Cianfrance’s film is gorgeous and well-acted, but it’s hard to invest in the two central characters.
The performer, known for his roles in Willy Wonka and the Chocolate Factory and Young Frankenstein, died at age 83.
Richard Tanne’s recounting of Barack and Michelle Obama’s first date will appeal most to those who already miss America’s current president.
The film flopped hard at the box office after studios tried to copy the success of 2004's The Passion of the Christ.
The discussion over how to parse the filmmaker in light of a sexual-assault trial 17 years ago is particularly difficult for black women.
The newest film from the animation studio Laika is visually stunning—even if the story it tells is shaky at times.
Todd Phillips’s comedy-drama, based on a true story of gun-runners in their 20s, should be brutally funny. It’s not even brutal.
The up-and-coming filmmaker is under intense scrutiny for rape charges leveled against him 17 years ago. Here’s why this debate is necessary.
Bradley Cooper will reportedly co-star and direct a new remake of Hollywood’s old tale of fame. But what fresh angle can a fourth version possibly find?
Rogue One’s heir to R2-D2 appears appears to be humorless, far from cute, and very fascinating.
Hell or High Water frames financial institutions as the enemy of common Americans, but in doing so it speaks to the nation's history.