DreamWorks' 'The Croods,' David Gordon Green's 'Prince Avalanche,' and more
Notes on Richard Linklater's 'Before Midnight,' Fredrik Bond's 'The Necessary Death of Charlie Countryman,' and others
Notes on Wong Kar-Wai's latest, Joseph Gordon-Levitt's directorial debut, and 'Lovelace'
New evidence of a God complex emerges.
Steven Soderbergh's latest confounds expectations with outstanding panache.
Sure, the premise is creepy, but Nicholas Hoult brings life to an undead role.
So long as his 'Star Trek' affiliation doesn't annihilate the known universe, there's reason for optimism.
So broken that it takes a diagram to untangle it
The performances in Tom Hooper's adaptation of the musical impress, then enter overkill territory.
Director Kathryn Bigelow's latest is a cinematic tour de force, but one open to moral questions.
The Atlantic's film critic picks the year's 10 best titles—and doles out some less-conventional awards.
Orcs! Battles! Backstory! At nearly three hours, the first installment of Peter Jackson's new Tolkien trilogy has too much of nearly everything.
Andrew Dominik's new film is most notable for reminding us of the crime-genre contributions of George V. Higgins.
The peculiar yet delightful hybrid may just be the best animated movie of the year.
David O. Russell's exceptional new film showcases the emerging talents of stars Bradley Cooper and Jennifer Lawrence.
Daniel Day-Lewis mesmerizes as the Great Emancipator in Steven Spielberg's political portrait.
Despite a sharp conceit, the new Disney feature gets lost in its own plot twists.
In an extraordinary performance, John Hawkes takes us inside the mind of a disabled man attempting to lose his virginity.
A hokey, unfaithful, and yet surprisingly watchable adaptation of David Mitchell's nove