Iron Man 3: The Liberation of Tony Stark
Sure, the plot's a mess. But Robert Downey Jr. and writer/director Shane Black keep the focus where it belongs: on the man, not his armor.
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Sure, the plot's a mess. But Robert Downey Jr. and writer/director Shane Black keep the focus where it belongs: on the man, not his armor.
Jennifer Lawrence and Natalie Portman wax poetic about Meryl; Jon Hamm has a photo of Harrison Ford on his fridge.
Mars has always seemed like an underdog, while Braff has always seemed like a smug success. But isn't a rich person asking for money a rich person asking for money?
Some ideas for films about America's pastime that, unlike 42, don't culminate in miraculous home runs
Tom Cruise stars in a mildly satisfying sci-fi epic that thinks it's smarter than it is.
His latest, Lords of Salem, shows a slasher-film fanboy trapped by his influences.
The Motion Picture Association of America, feeling the pressure to curb kids' exposure to onscreen violence, plans to advertise films' adult content more prominently, not less.
They may be classics now, but in their original theatrical runs, movies like Office Space, Harold and Maude, and Heathers got savaged by reviewers.
He told me he always wanted to be recognized as a great player. But his harassment of Jackie Robinson will now forever define his place in history—as is fair.
The acclaimed director's critically panned film focuses on America in the now, not the past—which is a drastic change for Malick, but not a bad one.
Is the director's hypnotism thriller good? Bad? It's hard to say—maybe it's both.
Shane Carruth seems like an heir to Terrence Malick or David Lynch—until you realize how different his career has been from those art-film greats.
A new documentary shows two sides of the man who took some of the most iconic celebrity photographs of the 20th century: creative genius and womanizer.
In an official making-of featurette, the cast and crew are amazed by their work.
Reflections on knowing the late film critic in the early days of his career
Fede Alvarez's remake of the 1981 Sam Raimi classic is a stylish, inventive, gruesome homage.
Why we'll miss him
The 1993 thriller, returning to theaters this weekend in 3D, marked the second time Steven Spielberg started a new era in cinema—for better and for worse.
Does Pixar's worsening case of sequel-itis mean the studio's heyday is already past?
Lovers parting ways always promises some dramatic tension. These screenwriters made the most of it.
James Fallows on Jerry Brown's second chance. Plus: the mystery of the second skeleton, how gay couples are getting marriage right, the end of the retail salesperson, and more.
