Baz Luhrmann’s chaotic, maximalist approach works for one reason: The story of Elvis Presley should be a mess.
Spiderhead comes so close to making a classic “good vs. evil” story line feel new again.
Lightyear is the origin story that no one needed.
Steven Spielberg’s film predicted how having more convenience would mean sacrificing personal freedom.
The cynical logic of Jurassic World: Dominion doesn’t leave much room for what made the original a classic: a sheer sense of wonder.
RRR is the heroic epic we’ve been waiting for—one that’s not afraid of its own extravagance.
David Cronenberg’s Crimes of the Future could double as an elegy to the entertainment industry itself.
It’s just what every cineplex in the country needs.
How does the classic work of propaganda hold up? And can its sequel, Top Gun: Maverick, deliver decades later?
What on earth is going on in those final scenes?
The Disney+ film is like an updated Who Framed Roger Rabbit—a fantastically funny cartoon satire.
The film offers the same clinical gaze to both the mundane and graphic sides of the adult-entertainment business.
Three basketball-loving writers discuss the first season of HBO’s controversial series about the 1980s Lakers.
The director’s new horror film will probably alienate some viewers, but that was a risk he was prepared to take.
Where Lost and Westworld spun out, the Apple TV+ show’s contained world succeeds.
A digital reissue of Inland Empire reveals the charms of the director’s inscrutability.
The film is convoluted and overstuffed—but also surprisingly good.
The film asks a question intrinsic to online storytelling: What separates real life from fiction?
How the brutal Viking blockbuster uses a millennia-old tale to undermine the toxic masculinity of myth.
The days of seemingly unlimited new content from the streamer appear to be ending.