The Dunkirk director has been loudly dismissive of the company’s policy on theatrical releases—but he’s really just arguing for a different streaming model.
Albert Brooks’s 1985 satire of two upper-middle-class Californians trying to find themselves is as cutting as ever in its Criterion rerelease.
Dunkirk and Valerian had two highly contrasting kinds of crossovers—and Game of Thrones could have taken a lesson from either.
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.
Epic yet intimate, the director's new war film is boldly experimental and visually stunning.
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.
The new Netflix movie illustrates how hard it is to responsibly portray a mental-health disorder that has morbidly fascinated culture for centuries.
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.
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.
Sony's collaboration with Marvel Studios gets so many things right, it’s almost difficult to list them all.
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.
Edgar Wright’s car-chase caper explores the wonders—and the dangers—of everyone having their own soundtrack.
The sublime new film from Bong Joon-ho, who directed Snowpiercer, follows a young Korean girl’s relationship with a genetically enhanced farm animal.