Starring George Clooney as a TV investment guru, Jodie Foster's 'Money Monster' might be too likable for its own good.
Two jazz trumpeters, now each the subject of a biopic taking its title from one of its hero’s hits: "Born to Be Blue" (Chet Baker) and "Miles Ahead" (Miles Davis).
The atmosphere of moral agony in Eye in the Sky reflects standard-issue Hollywood sentimentality. Politically, it offers Americans moral justification for drone war.
Barry Crimmins is a funny, frightening man. His humor is so sharp it feels almost dangerous to laugh. There’s no telling when it could turn, or in what direction.
Writer-director László Nemes takes us into the Auschwitz death camp one day in late 1944. The camera immediately fastens on Saul Auslander and never lets go.
Just in time to relieve the post-Oscar doldrums comes the reappearance of Orson Welles’s "Chimes at Midnight," the 1966 adaptation of Shakespeare’s Henry IV plays.
Michael Moore tours the social democracies of Europe, assembling a piecemeal progressive utopia and contrasting it with the bleakness on our side of the Atlantic.
Very few historical films have achieved this degree of physical verisimilitude. The bad news? Verisimilitude may be 'The Revenant'’s only great achievement.
The title of Paolo Sorrentino's latest doesn’t refer to a fixed stage in life but to the mysterious inner spark—as much spiritual as biological—that keeps us going.
All six movies I watched between Christmas and New Year’s Day were about looking back: to historical eras; to the protagonists’ pasts; or, for us, to our own pasts.
Readers weight in on the debate started by Albert B. Hakim on universal salvation and damnation for the unjust, and fact-check our review of 'Spotlight.'
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