Raymond Chandler in a bowling alley
Disney's sequels will revive many of the filmmaking techniques of the original trilogy. Is that savvy nostalgia marketing, or an earnest challenge to the rest of the movie industry?
The movie that brought it all together
The “commercial” movie that wasn’t
Unlike some histories of the blues, the documentary Take Me to the River revitalizes its subject by grappling both with racism and contemporary pop.
HBO's Terror at the Mall goes light on presenting background info, on the assumption that viewers are going to look up the facts anyways.
Extraordinary as it is, Richard Linklater's film avoids the topic of race in ways that are all too common for its genre, for Hollywood, and for America.
An overdue love letter to the extraordinary meta gangster movie
Come for the infant abduction, stay for the yodeling.
Revisiting the lethal cunning of the filmmakers’ debut
Steve Coogan and Rob Brydon reunite for a perfectly bittersweet Labor Day comedy.
Director Daniel Schechter and star Jennifer Aniston offer up a middling adaptation of Elmore Leonard's novel The Switch.
The late actor-director exuded charisma onscreen in films like Brighton Rock and Jurassic Park, yet he may have wielded the most lasting influence behind the camera.
Apart from a vivid turn by Eva Green, Robert Rodriguez and Frank Miller's long-delayed sequel lacks the stylish excess of the original.
A dismal U.S. box office this summer might be triggering some industry nostalgia for 2002.
One of the most traditional love stories to be released in the past few years is also one of the deepest.
She was the last of the great 20th-century movie stars.
James Cameron's underwater epic may have been too sappy to be deemed a classic—but that's because, for once, the director didn't bother to hide his politics.
Do not look to sewer-dwelling reptilian heroes for depth. Do look to them for a strangely resonant portrait of contemporary attitudes about crime and its causes.
Marvel sends up the brooding-superhero genre