Here are the most noteworthy movies to come out of this year’s Sundance Film Festival.
The model and actor drove men wild. She’s still enduring the consequences.
M. Night Shyamalan understands how to make a ludicrous horror concept work: Add in a healthy dose of tenderness.
Even before her comeback, the actor excelled at humanizing characters who were written as mere laughingstocks.
But the gory, existential horror film can’t keep up with its own premise.
The competition is more genuinely surprising than it has been in years.
Saint Omer turns a true crime into a complicated elegy.
Why is this so hard for studios to believe?
Missing is a slick but buggy update to the genre.
The idiosyncratic horror film makes use of one of the scariest devices: a story with more questions than answers.
If the show succeeded, it was thanks to the likes of Michelle Yeoh, Jennifer Coolidge, and Ke Huy Quan.
I Didn’t See You There depicts, with a hypnotic realism, life from the perspective of a disabled person.
The zany horror film is as self-aware as the sentient android at its center.
Sarah Polley’s new film, Women Talking, is about “ending a world and creating a new one”—all in the space of a single debate.
The film is sharply funny, eerily timely, and loaded with movie stars. So why is this blockbuster-size event falling flat?
In Avatar, the fictional language Na’vi is built on a painstakingly detailed world.
The Glass Onion director on why his sequel to Knives Out is louder and angrier
A (partial) defense of the most ridiculous addition to the franchise
Damien Chazelle’s new film is an extravaganza of caustic misery and overflowing movie magic.
The British director Joanna Hogg on death, mothers, and the allure of memoir movies