The Lightweight Appeal of Star Trek Into Darkness
As before, the cast is lively, the plot ridiculous, and the action nearly nonstop. More »
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Christopher Orr is a senior editor and principal film critic at The Atlantic. He has written on movies for The New Republic, LA Weekly, Salon, The New York Sun, and others, and has worked as an editor for numerous publications.
As before, the cast is lively, the plot ridiculous, and the action nearly nonstop. More »
For Storm of Swords readers only! More »
Baz Luhrmann's adaptation is just the latest example of his tragic attraction to tragedy. More »
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. More »
Is the director's hypnotism thriller good? Bad? It's hard to say—maybe it's both. More »
Fede Alvarez's remake of the 1981 Sam Raimi classic is a stylish, inventive, gruesome homage. More »
Does Pixar's worsening case of sequel-itis mean the studio's heyday is already past? More »
The third season of HBO's dazzling fantasy epic is even better than the previous one. More »
Why can't Tina Fey extend her domination of the small screen to the big one? More »
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 »
More critiques of critiques of my critique of modern-day romantic comedies More »
Critiquing a critique of my critique of modern-day romantic comedies More »
The Atlantic's film critic picks out this year's Oscar winners More »
DreamWorks' 'The Croods,' David Gordon Green's 'Prince Avalanche,' and more More »
Notes on Richard Linklater's 'Before Midnight,' Fredrik Bond's 'The Necessary Death of Charlie Countryman,' and others More »
Notes on Wong Kar-Wai's latest, Joseph Gordon-Levitt's directorial debut, and 'Lovelace' More »
Steven Soderbergh's latest confounds expectations with outstanding panache. More »
