The franchise channels its star’s manic energy, resisting character development in favor of insane stunts.
During the multi-country press tour for Mission Impossible: Rogue Nation, not even Jon Stewart has dared ask Tom Cruise about Scientology.
They’d spoil the movie, except that the movie has already spoiled itself.
Irrational Man, like so many of the prolific filmmaker’s works, is a loosely drawn exploration of the desire to do terrible things.
The new documentary The Look of Silence is the companion to 2012’s The Act of Killing, and follows a man who confronts the people who killed his brother in Indonesia’s 1965 anti-Communist purge.
Paul Rudd is charming, but the movie's production woes are apparent on the screen.
With an assist from director Judd Apatow, writer/star Amy Schumer has produced the most hilarious movie in a long, long while.
The summer’s latest found-footage horror film tries to find scares in a school after dark.
The star of Lawrence of Arabia and Dr. Zhivago has died at 83.
Despicable Me’s famed yellow munchkins are mischievous and amusing (especially for kids), but the movie, like its heroes, is lost without a charismatic leader.
Brian Grazer has some rules for success. He hasn’t always followed them.
The Disney CEO and the Oscar-winning actress compare notes on Hollywood.
Thirty years ago, Robert Zemeckis redefined the sci-fi genre with a film that had all the high stakes of a family sitcom.
Can a movie about male strippers be a loud affirmation of feminism? Three Atlantic writers discuss.
The poor production values and overly emphatic voiceovers define an art form that is timeless, sometimes terrifying, and quintessentially American.
In paying homage to the original, the fifth film in the series forgets what made it so good: humans.
The unexpectedly subversive pleasures of Channing Tatum’s male-stripper sequel
Sophie Gilbert found the film progressive and feminist. Readers feel it whitewashes a horrific past. Perhaps it’s both.
Tom Holland is the third actor in 10 years to be cast in the role, and the tepid reaction suggests that audiences are losing interest as a result.
Filmmakers were using dyes, stencils, baths, and tints as early as the late-19th century.