The heroine of Wes Craven's classic horror flick embodied—and transcended—the Final Girl trope.
The Keanu Reeves action movie is as worthy of comparison to Eyes Wide Shut as it is to Taken. Seriously!
The actor channels early De Niro in his best performance to date.
The late director won't have final cut, but the piecemeal restoration of The Other Side of the Wind may be his best industry gig since Citizen Kane.
The bustling superhero-film universe will get its first leading man of color in Black Panther and leading woman in Captain Marvel, among other new heroes and a slew of expected sequels.
A scene in the Michael Keaton-starring movie gets at a central conflict now facing Broadway.
This infinitely stylish, brilliantly stupid movie might be Keanu Reeves's renaissance.
A plea to experimental filmmakers everywhere: Realize this board-game adaptation's brilliant, disappointed potential.
Director Alejandro Gonzalez Iñárritu and cinematographer Emanuel Lubezki deliver one of the year's best—and oddest—films.
The first trailer suggests director Joss Whedon may be over-indulging his penchant for making characters suffer.
The acclaimed new film chronicles an awful, abusive music teacher. Why does the last scene seem to vindicate him?
Brad Pitt’s WWII tank epic is a triumph of technique—and a failure of storytelling.
Long silenced by the industry's unspoken norms, today's Indian starlets are taking to social media to dispute pay gaps and the objectification of their bodies.
Twenty years ago, Pulp Fiction unapologetically sampled and remixed film history. So why did it feel so original?
Once a critical darling, the Men, Women & Children director appears to be on the disastrous M. Night Shyamalan trajectory. The problem? Hubris.
Director Jason Reitman's latest film is pinched, preachy, and pretentious.
Works like Nosferatu may have lost some of their fright factor over the years, but they still fascinatingly show the birth of a genre.
Though director David Fincher may over-Fincher-ize somewhat, he delivers a sleek, faithful adaptation of the bestselling thriller.
A crisis of quality in literary criticism led Robert Silvers to found The New York Review of Books—and he believes the crisis continues today, online.
A scary-vast calendar for a vast, scary genre