Why on earth has the formulaic series, which debuted half a century ago, outlasted just about everything else on television?
The latest “MonsterVerse” movie from Warner Bros. is lazily plotted and feels wholly disconnected from the films that came before it.
The remake of Dirty Rotten Scoundrels with Anne Hathaway and Rebel Wilson doesn’t do much with its new female leads—and what it does do, it does poorly.
A complete refresher on the HBO epic’s many shaky story lines as the show heads into its long-awaited final season
Netflix’s latest offering tells the story of Bonnie and Clyde from the perspective of the lawmen—played by Kevin Costner and Woody Harrelson—who pursued and killed them.
Triple Frontier, by the gifted director J. C. Chandor, is a letdown compared with his prior work.
What if the film had treated its amnesia story line as a creative opportunity rather than as a hindrance?
Can Roma nab Best Picture? Will A Star Is Born be snubbed? Here are The Atlantic’s predictions for the 91st Academy Awards.
The Rebel Wilson vehicle is neither funny nor clever enough to be the movie it wants to be.
Asghar Farhadi’s new family drama starring Penélope Cruz and Javier Bardem centers on a mysterious kidnapping that unearths long-buried secrets.
Florian Henckel von Donnersmarck’s Oscar-nominated German drama is worth every minute of its three-hour run time.
In a new, authoritative book by Matt Zoller Seitz and Alan Sepinwall, the Sopranos creator David Chase appears to make an accidental confession.
Adam McKay’s film wastes exceptional performances by Christian Bale and Amy Adams.
Our critics make their picks.
Opinions will vary, but for those in the proper mood, the new sequel starring Emily Blunt is a very pleasant diversion.
Intimate in focus yet vast in scope, the director’s homage to his childhood in early-1970s Mexico City may be the best film of the year.
The director Peter Farrelly’s film about transcending race is saved by bravura turns by Viggo Mortensen and Mahershala Ali.
Though its “chapters” are individually compelling, the Coen brothers’ Western anthology film is an ungainly whole.
Up until the second-season finale, it was a show on which almost nothing ever happened.
So far, people have been focusing on the perverse incentives the award creates for Academy voters. But even more pernicious could be the incentives it creates for filmmakers and studios.