The Atlantic's film critic weighs in on the underrated, the overrated, and why viewers can expect a big night for 12 Years a Slave, Dallas Buyers Club, and Gravity.
The first published works from the creator of the best show on television were dark, philosophical pieces of fiction in The Atlantic.
The entirely unnecessary remake isn't awful. But it's not good either.
Could HBO's latest hit be helping pave the way for a new form of storytelling?
All the pieces fit—vocal cast, animation, inside gags—in this trans-generational crowd pleaser.
The late actor could make unforgettable a gesture as tiny as flipping his sunglasses.
An extended unpacking of why director Jason Reitman's latest movie is (by far) his worst
The Academy speaks. Our critic talks back.
The Hollywood Foreign Press Association spreads the wealth in a strong movie year.
Scorcese's new film is fast, funny, filthy—and among his best of the last 20 years.
Why so many screen adaptations of the work of America’s most cinematic novelist are so bad—and what makes the exceptions, like TV’s Justified, so good
Thoughtful, elegant, and moving, Spike Jonze's film about a man in love with his operating system is a work of sincere and forceful humanism.
The Atlantic's film critic picks the top titles—and doles out some less-conventional awards.
The second installment of Peter Jackson's interminable trilogy proves, again, that more is less.
A critic responds to his critics, and unpacks the worst scene in the movie
The movie knows little—and cares less—about how people fall in love.
The second installment of the franchise is a substantial improvement over the first.
Reading is good. Nazis are bad.
Chris Hemsworth and Tom Hiddleston elevate the peculiar sci-fi/fantasy hybrid above the original.
Director Steve McQueen's stunning new film is likely to prove the best of the year.