An extended unpacking of why director Jason Reitman's latest movie is (by far) his worst
Like any other form of advertising, film trailers are as much a reflection of the decade's dominant marketing trends as they are the films they're selling.
Films like Enough Said and The Spectacular Now offer one solution for stale rom-coms: Don't skip out on the nuances and complexities of love, even if that means more heartbreak.
The Academy Awards have never been about celebrating cinema, they're about making the film industry look good. This year's mission: Crown young talents as bona fide stars.
The Academy, like the movie industry overall, tends to gravitate toward stories about slavery when they feature a merciful white man bringing freedom.
The Academy speaks. Our critic talks back.
The Disney movie's dark take on Prince Charming offers what Cinderella or The Little Mermaid don't: a chance to talk to my young kids about love and relationships.
The Hollywood Foreign Press Association spreads the wealth in a strong movie year.
Even if films don't glorify conflict itself, they all come down to good guys against bad guys.
Critics call Frozen's twist on the fairytale trope a much-needed corrective, but claiming Disney dreamboats are unrealistic or unhealthy just piles more shame onto young girls' fantasies.
Her risqué pinup photos made her famous in the 1950s, but as a new documentary reminds us, Page's liberated sexuality and unflinching body positivity are what still resonate today.
World War II dramas, dystopian teen trilogies, time travel, Bible stories, and more
Unlike 12 Years a Slave, the 1993 film Sankofa doesn't feature a "white savior," reminding viewers that the present is still full of exploiters.
Tune into the annual New Year's marathon broadcast of the show that debuted 55 years ago, and you might notice something strange: Its sci-fi stories look a lot like today.
The comic books were my childhood refuge from an alcoholic father, but they helped me overcome my own battle with the bottle, too.
Movies like Blue Is the Warmest Color, Bastards, and Violette didn't just depict lots of sex—they used it to ask tough questions about class, desire, and politics.
The film adaptation of Tracy Letts's award-winning dysfunctional-family play largely skips the "comedy" part of "dark comedy."
Scorcese's new film is fast, funny, filthy—and among his best of the last 20 years.
Jean Shepherd was an icon in his time. Now he's not. What happened?
Spike Jonze's film isn't the first portrayal of a servile, seemingly caring artificial-intelligence program. Robots have taken on traditionally feminine human roles since the 1960s.