Lebanese filmmaker Nadine Labaki’s tragic childhood tale is fabulous filmmaking, but a lot to endure.
It’s a pretty admirably engineered work of escapism, made all the more astonishing by its ability to stand independent of a cinematic universe.
There are two kinds of people: those who break out into a stupid grin upon hearing the words “Ocean Master,” and those whose hearts are made of stone.
It’s a chamber orchestra of unconscious prejudice and passive-aggression, with Jason Mitchell’s performance as the violin solo at the center of it.
Natalie Portman’s pop-star drama feels like it has a lot to say, but never gets around to it.
Miles Morales’s Spider-Man gets his big-screen debut, and it’s one of the most enjoyable superhero films — and computer-animated films — of our era.
It’s painfully old-fashioned, yet another type of movie that we may no longer have much use for — the awards-season, low-concept costume drama.
Including directorial debuts, mysterious documentaries, and violent fever dreams.
There’s very little upside in this tale of depression and suicide in a quaint little Scottish town.
Mamoru Hosoda tells this child’s story at a child’s eye level, and the diversions feel part and parcel of that point of view.
Von Trier returns with a violent, banal, navel-gazing session.
Robin Hood is Antifa now, or something?
The Shirkers filmmaker talks about the weird life of her long-buried movie, now on Netflix.
Hirokazu Kore-Eda delivers another layered, intimate story, this time about a poor Japanese family that lovingly kidnaps an abused girl.
A nearly unrecognizable Dylan McDermott plays a suburban dad from hell.
Writer-director Nijla Mu’min tells the story of a mother’s and daughter’s search for faith.
The Wreck-It Ralph sequel throws its unstable protagonist into the internet — and late capitalism.
The Nazi zombie movie’s thrills are as removed as watching a video game over someone’s shoulder.
Lisbeth Salander graduates from aristocratic rapists to nukes in Fede Álvarez’s new take on the franchise.
It’s a tougher, less comforting journalism movie than the last few you may have seen.