In The Card Counter, William Tell is a poker player living a carefully controlled life. He’s also tortured by memories of his past as a prison guard in Iraq.
The attacks altered the course of modern comedy, fueling the rise of political satire as a form of mainstream entertainment.
A culture of acquiescing to Beijing’s censors is now the norm, and there’s little sign of it changing.
A group of films, ranging from art-house gems to big blockbusters, that deserve a fresh look
Worth, a Netflix movie about the September 11th Victim Compensation Fund, reminds us that tragedies can’t be neatly quantified.
Perhaps a girlboss Cinderella was inevitable.
The new Candyman escapes a long tradition of exploiting Black pain for cheap scares.
Nia DaCosta’s take on the 1992 horror classic finds new depths in an urban legend but drowns in its own innovation.
Why cinemas should embrace vaccine mandates
Marvel’s Shang-Chi is the first Hollywood project for one of Asia’s biggest film stars. The result is pure magic.
He can sing, rage, and plumb surprisingly dark depths. In Reminiscence, he also displays a continued embrace of his age.
Annette follows a comedian and an opera singer who are raising a puppet child. Oh, and it’s also a musical.
Sian Heder’s acclaimed indie drama, CODA, will choke up even the most cynical viewer.
In the film, edgy shock value meets Hollywood sentimentality, resulting in a superhero movie unlike most others in the genre.
In Disney’s Jungle Cruise, the actor plays a typical hero—and ignores the qualities that make him so magnetic on-screen.
The director Tom McCarthy is known for subtle, well-acted character films that take surprising narrative turns. His latest work is no exception.
David Lowery’s film starring Dev Patel is a dreamy piece of high fantasy that turns an age-old tale into something to be puzzled over anew.
Roadrunner, a new documentary about the chef and television star, tries to uncover who he really was, but neglects vital parts of his story.
In Old, the director confronts the everyday, existential terror of life passing by too quickly.
Putting brand-new movies on streaming services might seem great for viewers. But in the long run, it’s bad for everyone.