The Han Solo prequel isn’t groundbreaking, but it’s different and very well cast—and that’s enough.
The sequel is at least as hilarious, and features a better plot, better villains—including a standout performance by Josh Brolin—and a few unexpected swerves.
It turns out that the parallels between “The Riddle of the Sphinx” and the ABC drama’s Season 2 premiere were mostly coincidental.
Co-written by star Melissa McCarthy and her husband, Ben Falcone (who also directed), this Back to School knockoff is a dull and ramshackle mess.
Marvel’s latest—and largest—production is far from perfect, but it melds its many, many elements into an impressive mix of humor and sorrow.
The new Amy Schumer vehicle tries to be a feminist fable—and fails badly.
The director Lynne Ramsay’s latest film, starring Joaquin Phoenix, is high on style and talent, but low on plot, narrative, or emotional connection.
Wes Anderson’s second foray into stop-motion animation is a fable at once light and dark.
The new film from Veep creator Armando Iannucci turns one of the darkest moments of the 20th century into timely black comedy.
The director Ava DuVernay’s live-action adaptation captures the childlike wonder of Madeleine L’Engle’s beloved novel.
Revisiting a film embraced by the 1968 generation
Our critic explains his picks.
The director Alex Garland’s followup to his debut feature Ex Machina is frequently a pleasure to look at, but lacks structure and coherence.
The director Ryan Coogler's addition to the Marvel pantheon is a superb genre film—and quite a bit more.
Another sequel so awful that it needs to be described in detail to be believed
The self-seriousness of Christopher Nolan's Batman trilogy and its imitators has finally given way to films that embrace the genre’s comic potential.
The perfectionist actor Daniel Day-Lewis stars as a perfectionist dressmaker in Paul Thomas Anderson’s thoughtful, intriguing film.
Steven Spielberg’s celebration of freedom of the press, starring Meryl Streep and Tom Hanks, is solid awards-season fare—but not much more.
Top picks from a surprisingly strong year for film
Like its immediate predecessor, The Force Awakens, director Rian Johnson’s installment trades a little too much on nostalgia. But it does so with cleverness, verve, and depth.