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.
Ignore the romantic comedies and listen to Dickens: This holiday tradition need not be romantic, or creepy.
Maybe the film's mysterious feline is Llewyn Davis.
David O. Russell's latest has a lot to say about deception, but it gets lost in the details.
The Inside Llewyn Davis directors rarely depict the political process, but their portrayals of working-class characters struggling to get by does highlight a certain set of beliefs.
Thoughtful, elegant, and moving, Spike Jonze's film about a man in love with his operating system is a work of sincere and forceful humanism.
Maier took photos as a hobby for most of her life, but her talent was discovered just before she died—and today, it's the romantic story consumers project onto her art that fuels her acclaim.
The frontman of Edward Sharpe and the Magnetic Zeros explains the "forever lonely" feeling behind All Is Lost's Golden Globe-nominated score.
The Atlantic's film critic picks the top titles—and doles out some less-conventional awards.
Two generations after the famous film about solitary confinement first appeared, it's still relevant to the deplorable treatment of inmates in America's prisons today.
The second installment of Peter Jackson's interminable trilogy proves, again, that more is less.
A critic responds to his critics, and unpacks the worst scene in the movie
The Disney hit is a good, subversive kids' film—until a needlessly jarring surprise at the end.
The duo lives on in film after film because the ordinary couple's desire for fame, not riches, resonates through the decades.
A new crop of movies skips the usual rosy nostalgia to portray the decade as a time when young people were directionless and uncertain—much like the other decades that came after it.