Three Atlantic staffers discuss “Stormborn,” the second episode of the seventh season.
Gillian Robespierre’s follow-up to the 2014 hit Obvious Child retains its star Jenny Slate, this time putting her at the center of a dysfunctional family.
Luc Besson’s new sci-fi epic is a visual sensation that deserves to be seen on the biggest screen possible.
Twenty years ago, Luc Besson’s visually stunning film hinged its story not on action or violence, but on love.
Ava DuVernay’s adaptation of Madeleine L’Engle’s book is one of the studio’s only upcoming movies that’s not a follow-up or a remake.
Three Atlantic staffers discuss “Dragonstone,” the first episode of the seventh season.
As the show returns for its seventh, penultimate season, what will become of Westeros?
With old favorites like Downton Abbey and Game of Thrones out of the picture, this year’s TV awards could get interesting.
William Oldroyd’s debut film, based on a Russian novel, is a surprising tale of murder and infidelity in rural Victorian England.
The third entry in this revamped series is a technical accomplishment, but a storytelling drag.
The online multiplayer video game simulates a free-for-all deathmatch between 100 participants—and it’s selling faster than Minecraft.
Christopher Nolan’s war epic will be rolled out nationwide in 70-millimeter projection, which could be an intriguing answer to audiences’ declining interest in 3-D.
David Lowery’s new film stars Casey Affleck as an old-fashioned ghost who can’t leave his life behind.
Domestic audiences are rejecting this summer’s procession of tired sequels, and international grosses won’t be enough to keep studios afloat forever.
Edgar Wright’s latest film is easy to dismiss as an exercise in style, but he’s both paying homage to, and subverting, the morality of the getaway driver.
Jeff Baena’s new film juxtaposes foul-mouthed 21st-century humor with bawdy tales from the Middle Ages.
Films like The House, which cast the actor as a frustrated suburban everyman, are a waste of his unique comic talents.
The sublime new film from Bong Joon-ho, who directed Snowpiercer, follows a young Korean girl’s relationship with a genetically enhanced farm animal.
Amid the cacophony of Transformers: The Last Knight, one thing stands out as strange: The soldiers are the villains.
The mercurial comedian, who plays the disruptive Erlich Bachman, departed the show under mysterious circumstances in Sunday’s season finale.