The winner for Best Picture would seem to have a leg up on the Oscar race, but recent history has shown that the Globes don't account for late-breaking buzz.
At the Golden Globes, Tina Fey and Amy Poehler broke with good taste, but with a purpose.
Oscar Isaac dazzles in J. C. Chandor’s gripping, understated thriller.
Don't read too much into this first-ever adaptation of the postmodern novelist's work, which is faithfully light and generally groovy.
The film's teaser trailer shows none of the humor that made Guardians of the Galaxy 2014's biggest success.
The movie's simultaneous release online and in theaters shed some light on key questions facing the film industry.
Get ready for starships, sailors, and Streeps.
The film wants to conclude happily, but downplaying Alan Turing's tragic demise does a disservice to his legacy.
Cinema history shows in-theater film ads have not increased in duration—only in speed, spoilers, explosions, ubiquity, and commercial importance.
Director Ava DuVernay wisely focuses her sober, stately film on a few critical months.
Director Rob Marshall and Walt Disney Studios have promises to keep when it comes to pleasing fans of Stephen Sondheim and James Lapine’s 1986 musical.
The Angelina Jolie-directed biopic serves up a lot of misery, but not much purpose.
The stunning new biopic of the Romantic landscape painter J.M.W. Turner improvises on art history to (successfully) create art itself.
"Our society, which is a sick society, created this story," says the Oscar-winning actress of the acclaimed new working-class drama she stars in.
Close relationships between artists and real-life heroes bring credibility, but is it really worth the loss in creative control?
The Atlantic's film critic picks the top titles—and doles out some less-conventional awards.
It's still rare for a mass-market movie to put a person of color in the lead role, and it's increasingly clear that Hollywood's history of exclusion hurts everyone.
Main characters are two-and-a-half times more likely to die in a children's animated film than in a film for adults—and three times more likely to be murdered.
With its first-rate effects and haphazard cast, Ridley Scott's biblical epic is a movie full of sound and fury, signifying nothing.
The Hollywood Foreign Press's nominations mostly stuck to conventional wisdom, but tossed some surprising love to oddball critical favorites—especially in the TV categories.