Despite a few fun moments, this mess of a Broadway adaptation didn't need to exist.
The Rover and forthcoming throwbacks to the John Wayne era may not dominate the box office, but they speak to American anxieties in a distinctly modern way.
The cosmic language in The Fault in Our Stars is a form of teen faith in the grandiosity of life.
Jonah Hill and Channing Tatum deliver an improbably good sequel to an improbably good reboot.
He doesn't quite look like a superstar, but talent, unconventional features, and the power of the Internet have made him into one.
Comics tend to lose their charm when turned into films, and no comics character has more charm to lose than Stan Lee and Steve Ditko's nutso 1960s superhero.
Director Doug Liman imbues the Groundhog-Day-meets-Starship-
The film faithfully recreates the events of John Green's book about young cancer patients in love, but tramples on its anti-schmaltzy spirit.
Steven Spielberg's D-Day epic is a brutal, unpatriotic portrait of war—except for the notoriously sappy prologue and epilogue. What was the film really trying to say?
Jonathan Demme's Caged Heat, 40 this year, showed the radical political potential—and, yes, sexually exploitative side—of the women-in-prison genre.
Angelina Jolie's jutting facial prosthetics make a supermodel trait supernatural.
A rookie director, flimsy script, and way too much CGI doom Disney's revisionist fairy tale.
The three-hour Turkish epic Winter Sleep took the top honors, but the Jury Prize was split between the film festival's oldest and youngest directors—both iconoclasts.
The festival's slate has been mediocre overall—but at least that means more suspense about which work will win the top prize.
Ryan Murphy's moving HBO film about the early AIDS crisis, unlike the play from which it's adapted, runs on love, not anger.
Bryan Singer's Days of Future Past is the franchise's most ambitious installment to date.
At Cannes, the iconic director's latest proves to be as experimental as ever. Meanwhile, Michel Hazanavicius's much-awaited follow-up to The Artist disappoints.
Neither Gareth Edwards's new blockbuster nor the iconic 1956 American edit match the somber power of Ishiro’s Honda’s 1954 Gojira.
The Dardenne brothers' Two Days, One Night, starring Marion Cotillard in a tale of blue-collar struggle, wowed. Gosling's directorial debut, Lost River, did not.
Should Gareth Edwards have shown more of his titular monster? Not necessarily. But he shouldn’t have made him a narrative afterthought in his own reboot.