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.'
We've chosen the film reviews from this year you'll most want to read again.
"Room" is a work of skill, with an interesting shift that says as much about the differences between literature and cinema as it does about the talents involved.
'Spotlight' portrays the Globe’s reporters as heroes, but theirs is a workaday heroism without flourishes or frills. 'Truth,' by contrast, is soaked in personality.
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.
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