Before talkies, type mattered enormously to movies, though the typists rarely got their due. A film festival has spurred the resurrection of one of those antique letter faces.
Director John Carney attempts to recapture the magic of his 2007 charmer Once, with somewhat mixed results.
The global box office doesn't reward American humor these days.
Critics hate Transformers: Age of Extinction, but it's the work of someone who, like more and more filmmakers, has aligned artistic interests with commercial ones.
The film's popularity has coincided with public outcry over sexism in Japan, where unlike in America, Disney marketing played up the movie's empowerment message.
Michael Bay's latest installment is ridiculous, ill-humored, and—at nearly three hours—the most interminable yet.
Luke and Vader, Batman and Bane, The Bride and Bill: Done well, cinematic fights elevate their pulpy surroundings. What makes for a good one?
By enlisting relatively obscure directors and spinning off cult characters, the studio is taking a Marvel-style approach to the galaxy far, far away.
Despite a few fun moments, this mess of a Broadway adaptation didn't need to exist.
The Rover and forthcoming throwbacks to the John Wayne era may not dominate the box office, but they speak to American anxieties in a distinctly modern way.
The cosmic language in The Fault in Our Stars is a form of teen faith in the grandiosity of life.
Jonah Hill and Channing Tatum deliver an improbably good sequel to an improbably good reboot.
He doesn't quite look like a superstar, but talent, unconventional features, and the power of the Internet have made him into one.
Comics tend to lose their charm when turned into films, and no comics character has more charm to lose than Stan Lee and Steve Ditko's nutso 1960s superhero.
Director Doug Liman imbues the Groundhog-Day-meets-Starship-
The film faithfully recreates the events of John Green's book about young cancer patients in love, but tramples on its anti-schmaltzy spirit.
Steven Spielberg's D-Day epic is a brutal, unpatriotic portrait of war—except for the notoriously sappy prologue and epilogue. What was the film really trying to say?
Jonathan Demme's Caged Heat, 40 this year, showed the radical political potential—and, yes, sexually exploitative side—of the women-in-prison genre.
Angelina Jolie's jutting facial prosthetics make a supermodel trait supernatural.
A rookie director, flimsy script, and way too much CGI doom Disney's revisionist fairy tale.