This installment marks director Michael Bay's final outing, but the loud, unpleasant franchise isn't planning to go away.
Another disappointing sequel suggests the studio's consistent excellence is now a thing of the past.
A lovely, subtle performance by Rachel Weisz is let down by a film too staid and ambivalent.
A little humor and charm—plus a breakout performance by Gal Gadot—can go a long way.
The latest installment in the flagging franchise, Dead Men Tell No Tales, offers a dreary, imitative voyage.
Ridley Scott's latest movie wisely focuses on extraterrestrial suspense, not windy philosophizing.
For 15 years, the animation studio was the best on the planet. Then Disney bought it.
Guy Ritchie's would-be franchise is dull, clumsy, and derivative.
While not quite living up to the original, the Marvel sequel is again carried by its superpowered cast and soundtrack.
The female-stalker movie starring Rosario Dawson and Katherine Heigl is just going through the motions.
The star-studded HBO limited series came to a compassionate conclusion for (almost) all of its characters.
Danny Boyle's nostalgic sequel to his breakthrough film proves that you can go home again.
As the much-anticipated sequel to his 1996 cult classic gets set for release, the English director discusses the impact of the original, that memorable opening monologue, and Brexit.
Director Jordan Vogt-Roberts’s Vietnam-era reimagination of the giant ape is just good enough to make you wish it were better.
Who will win at the 89th Academy Awards?
Zhang Yimou’s CGI epic again demonstrates the downside of movies tailored to a “global audience.”
A blow-by-blow recounting of an awful, retrograde sequel
The first feature from the Oscar-winning animator Michaël Dudok de Wit is a beautifully sparse meditation on the cycles of life.
In his new film, which features a brilliant performance from James McAvoy as a man with 23 personalities, the oft-derided director may have finally found a return to form.
The headliner at Donald Trump’s inauguration co-wrote and starred in an abysmal 2008 vanity project that nonetheless presents an occasionally interesting self-portrait of red state America.