Man of Steel's Lois Lane Is a 'Modern' Heroine—Just Like the Lois Lanes Before
Reading the scholarly literature on how changing ideas about women have affected the leading ladies of Superman
Advertisement
Has the U.S. Passed Peak Car?
Reading the scholarly literature on how changing ideas about women have affected the leading ladies of Superman
The reboot, from director Zack Snyder and co-writer Christopher Nolan, is thoughtful, ambitious—and less fun than it might have been.
The world's largest film industry—that'd be India's—is largely barren of the superhero and spaceship films that dominate Hollywood. What, exactly, accounts for the difference?
Seth Rogen's End Times comedy is crass, self-referential, and extremely funny.
The Man of Steel director's work often gets bashed as high-gloss, carnal pandering, but look closer: His movies provide sly, self-aware commentary on their genre.
Deep Space Nine features Section 31, a mysterious intelligence agency and special-ops team that, when you squint, resembles the U.S. National Security Agency in its opacity.
The Purge seems implausible, but according to criminologists, some sci-fi films' law-enforcement methods could be possible one day—and some are in use right now.
Vince Vaughn and Owen Wilson's film is OK as dumb comedy, but its attempt to tap the zeitgeist fails for relying on unemployed heroes who have zero real obligations.
The Avengers director discusses adapting Shakespeare's comedy to the present day, what it was like to film in his own house, and the future of Dr. Horrible 2.
At the Mostly Lost festival this weekend in Virginia, cinephiles try to identify "lost" movies.
The histories of franchises like Star Trek and The Avengers reflect the stories they tell: Icons matter, people don't.
Who subjects their kid to such high-profile panning at such a young age?
On the upside, this may be the first terrible movie by M. Night Shyamalan that's not primarily his fault.
But since then, a shift in critical expectations transformed 2003's charming deep-sea adventure tale from "slightly subpar Pixar" into a "modern classic."
An intense lesbian love story, a valentine to 1960s folk music, a four-part portrait of violence in China, and a tale of a teenage prostitute were among the fest's best movies.
Blue Is the Warmest Color takes the Palme d'Or, deservedly.
The Immigrant, James Gray's melodrama set in 1920s New York, is finally here—and it's either his magnum opus or a half-baked bore.
ATTN film execs contemplating franchising funny films: Don't. Ever. Please.
The early movies run together in a blur of shiny metal, but in recent years, director Justin Lin has polished the franchise into something inventive and genuinely thrilling.
It's the best installment in Richard Linklater's romantic trilogy because it's the wisest.
« Previous More Stories »
The biggest ideas of 2013, why junk food is fat's greatest foe, the real baby deadline, and more
