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
Where we stand, 16 movies later
A circular folk-music odyssey
Cinema's latest old guy on a rampage is a preposterously enlightened assassin—the logical culmination of Washington's career.
Have girl, will travel
The Book of Job meets 1960s Minnesota
Sex farce masquerades as a spy flick in the brothers' blackest comedy.
A triumph of immaculate execution, and their best film