The studio’s latest film is a sweet, inventive, and original story of two brothers growing up in a fantasy universe that’s lost its edge.
The director Autumn de Wilde’s precise aesthetic is an ideal match for the rigid social rules of Jane Austen’s classic novel.
The new film about the super-speedy video-game mascot is actually just dull.
The film is a faithful rendering of 2014’s Force Majeure—and Will Ferrell doesn’t belong in it.
When Bong Joon Ho accepted the directing trophy for Parasite, his heartfelt remarks flipped a predictable-seeming ceremony into must-see live television.
The new horror film from the creators of Goodnight Mommy features a nightmarish battle of wills between two kids and a mother figure whom they don’t entirely trust.
The film legend, who died at age 103, was a bridge between cinema’s fusty beginnings and its more adventurous future.
In Birds of Prey, both Harley Quinn and the studio behind her are reckoning with past mistakes.
Can Parasite triumph over 1917? Will Brad Pitt win his first acting Oscar? Here is The Atlantic’s forecast.
The title character of Kitty Green’s new movie works for a man so nebulously threatening that the camera never shows his face.
Studios are betting on films such as Palm Springs and Minari to earn box-office success as well as critical praise.
The festival’s showcase of movies by Janicza Bravo, Eliza Hittman, Kirsten Johnson, and others could be a sign of positive change in an industry struggling to diversify.
He’s still a movie star. But both of his latest films reflect an actor terrified of fading into obscurity.
The actor gives a listless performance in The Gentlemen, an unpleasant muddle of bigoted humor and tired clichés.
The annual film festival will kick off a new year in independent cinema this week.
Makoto Shinkai’s bold and charming Weathering With You is set in a world ending so gradually, people barely notice it anymore.
The new film starring Robert Downey Jr. as a doctor who talks to animals is transfixing at times, if only because it’s such a disaster.
Every year, plenty of excellent films are excluded from the awards-season conversation for reasons that have nothing to do with talent or artistry. This year is no different.
Todd Phillips’s Joker is the biggest contender in an Academy Awards race featuring a single actor of color and no female directors.
The biopic draws power from its faithful retelling of a man’s wrongful conviction, but risks seeming more like a news summary than a narrative work.