Abduction? Or apocalypse? Or maybe … both?
The Tina Fey war comedy takes on big ideas, but can’t seem to decide what it’s endorsing—or what it’s mocking.
Though somewhat conventional in form and message, the movie has wit, panache, and visual ingenuity to spare.
Terrence Malick’s latest effort is a messy critique of life in Los Angeles that isn’t as insightful as it aims to be.
ABC would be wrong to use a dip in the ceremony’s viewership as an excuse to assume creative control.
He used the Oscars stage to call for diversity—and to taunt boycotters who share the same goals.
Chris Rock’s acidic take on race, an upset in the Best Picture category, and more
Over the past decade, film has enjoyed a revival in the Middle East amid a cultural revolution—and despite societal challenges.
The fantasy epic may be brainless, but there are merits to its commitment to pure spectacle.
Though the medium is no longer mainstream, the Internet has given filmmakers the space to challenge Hollywood’s creative shortcomings.
Basically, bet on The Revenant.
The film’s director, Robert Eggers, discusses how his Puritan horror story came to focus on the empowerment of a teenage girl.
A comprehensive study suggests that “political correctness” in film and TV has not, by any significant statistical measure, run amuck.
Robert Eggers’s debut film, a smash hit at Sundance, conjures its scares from eerie atmospherics and immersive details.
The movie, which charts Jesse Owen’s path to the 1936 Berlin Olympics, fumbles trying to tell multiple stories at once.
Ben Stiller’s follow-up to his own comedy classic is a downright bummer, no matter how many celebrity cameos it tries to cram in.
Though not quite as clever as it thinks it is, the Ryan Reynolds vehicle is a reminder that humor and superpowers go together just fine.
Netflix will soon be streaming Look Who’s Back—a German satire that imagines the Führer as a YouTube star.
The rollicking adaptation of Seth Grahame-Smith’s 2009 mashup gives Jane Austen’s beloved novel an undead twist.
The Coen brothers’ latest film may not rank among their greatest, but it is an unexpectedly delightful celebration of the movies.