To hell with postmodern irony. Here are two earnest movies with straight-arrow heroes: "The Martian," with Matt Damon, and "Bridge of Spies," with Tom Hanks.
What’s fairly new about 'Black Mass' is that this gangster story focuses more on the moral seduction and destruction of a lawman than on the downfall of a hood.
Set in bombed-out Berlin of 1945, Petzold's 'Phoenix' questions who was guilty, and of what, in the daily workings of the Holocaust—and will there be a reckoning?
In 'The End of the Tour,' James Ponsoldt addresses the life—and death—of David Foster Wallace, served as the Platonic ideal for a generation of younger writers.
You won't see a movie more carefully premeditated than Allen's latest, which is too much like a machine, its characters more like well-oiled gears than human beings.
The footage once used to exploit the Winehouse miseries have been carefully sequenced by director Asif Karpadia so that they bring her humanity home to the viewer.
Featuring the best of our interviews—including Woody Allen, Jorge Luis Borges, Mary Gordon, (Sister) Elizabeth McAlister, Christian Wiman, and Mario Cuomo...
Dwayne "the Rock" Johnson is the perfect hero in an epic account of an earthquake that ravages California; Bill Pohlad studies Brian Wilson’s musical perfectionism.
Alex Garland's "Ex Machina" is a deceptive movie about deceptions, most of all about the very human tendency to deceive oneself in order to feel needed.
Emma Thompson has descried fairy-tale possibilities in the facts of Effie Gray's story; Kenneth Branagh does moderately well with an expedient "Cinderella."
The resonances of "It Follows" are varied and strange, touching on subtexts sexual, ethical, and sociological. The horrors in " '71" are frightening for being true.
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