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.
The director Gary Ross’s all-female twist on the heist franchise coasts on the star power of its cast, led by Sandra Bullock.
John Cameron Mitchell’s ode to 1970s punk rock and alien romance is too nice for its own good.
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.