The Star Wars series, now two episodes in, is a good example of how the streaming service can mine smaller, solid stories out of massive franchises.
James Mangold’s new film lays bare the greed and egotism behind a fabled auto-racing triumph.
Disney’s attempt to revisit the kingdom of Arendelle does little more than embellish a story that already felt complete.
Disney is making its streaming debut with an expensive-looking TV show based on a beloved property. But the series is off to a slow start.
The director caught backlash for criticizing the reign of Marvel films—but he’s not wrong about the threat they pose to the future of movies.
In Noah Baumbach’s heartfelt divorce film, a couple’s conflicts stem from their inability to understand each other.
Mike Flanagan’s follow-up to The Shining strives to pay homage to Stanley Kubrick’s classic and remain faithful to Stephen King’s original novel.
Last Christmas is filled with the kind of sincerity—mixed with just the right amount of cynicism—that’s been missing from movie screens.
As streaming services such as HBO Max tilt back toward older conventions, the all-at-once strategy pioneered by Netflix may find itself out of fashion.
The Irishman ruminates on the stories and characters that have helped define the director’s career.
Edward Norton’s adaptation of the 1999 novel feels like a glassy diorama of a gumshoe thriller.
Kasi Lemmons on the mythos of Harriet Tubman and why the director’s new film is like “12 Years a Slave meets Django Unchained meets Wonder Woman”
Last night, the Academy of Motion Picture Arts and Sciences honored four artists whose cinematic achievements had been overlooked for decades.
Ira Sachs’s portrait of an actress and her family is beautiful in the moment, but too gentle to leave a lasting impression.
The latest reboot of the sci-fi series brings back Linda Hamilton as Sarah Connor—a character the audience can care about.
Damon Lindelof’s new show advances the clock on Alan Moore’s original series but retains the comic’s skepticism of heroes in masks.
Robert Eggers’s new film, starring Robert Pattinson and Willem Dafoe, is an enthralling exploration of the mania of isolation.
Taika Waititi tries to balance zany comedy and grim realism in his new coming-of-age film set in Nazi Germany. He doesn’t quite succeed.
Maleficent: Mistress of Evil probably shouldn’t exist, but it is at least transfixing and stars a genuinely charismatic Angelina Jolie.
“It all came to me, and I wrote like it was a hurricane.”