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‘Beanpole’ Review: The War Has Ended. Their Fight Is Endless.
‘Black Bag’ Review: Blanchett v. Fassbender
‘BLKNWS: Terms & Conditions’ Review: An Artist’s Mind-Expanding Collage
‘Gunda’ Review: A Remarkable Pig’s-Eye View of the World
‘Hard Truths’ Review: Mike Leigh’s Brutal Comedy
‘Inside Out 2’ Review: PUBERTY! OMG! LOL! IYKYK!
‘Judy’ Review: The Singer (Disaster, Legend) at Rainbow’s End
‘La La Land’ Makes Musicals Matter Again (xlnt)
‘Maestro’ Review: Leonard Bernstein’s Life of Ecstasy and Agony
‘Marty Supreme’ Review: Timothée Chalamet Sprints to the Top
‘Materialists’ Review: When Dakota Met Pedro (and Chris)
‘Mission: Impossible — Fallout’ and the Bliss of the Hyper-Human Tom Cruise
‘Mission: Impossible — The Final Reckoning’ Review: Tom Cruise Defies All
‘Napoleon’ Review: A Lumpy, Grumpy Little Man
‘Nickel Boys’ Review: Childhood’s Brutal End
‘One Battle After Another’ Review: Paul Thomas Anderson’s Rallying Cry
‘One Child Nation’ Review: Controlling Minds and Bodies
‘Oppenheimer’ Review: A Man for Our Time
‘Project Hail Mary’ Review: Ryan Gosling Is Lost and Found in Space
‘Sirat’ Review: A Shocker in the Desert
‘Star Wars: The Force Awakens’ Delivers the Thrills, With a Touch of Humanity
‘Star Wars: The Last Jedi’ Is Really Good! Here’s Our Review.
‘The Matrix Resurrections’ Review: Slipping Through Dreamland (Again)
‘The Odyssey’ Review: Passion in Every Frame
‘The Power of the Dog’ Review: Wild Hearts on a Closed Frontier
‘The Social Reckoning’ Review: Sounding the Alarm
‘War Game’ Review: It Can’t Happen Here (Right?)
3 Men and a Monkey-Baby
A College Where the Exams Are Terrifying: ‘Monsters University’ Unfolds Before ‘Monsters Inc.’
A Knife and a Shower: Sounds Hitchcockian
A Prophet - Learning to Read, Murder, Survive
A Word With: Steven Spielberg
After the Apocalypse, Things Go Downhill
By Any Means Necessary
Class Dismissed (review)
Deconstructing Cinema in Order to Reveal It
Disembodied, but, Oh, What a Voice
Dutch Masterwork, Under Reconstruction: ‘Tim’s Vermeer’ Chronicles an Attempt to Make One
Falling Off Skyscrapers Sometimes Hurts a Bit
Giving Voice to a Big-Picture Thinker
Harvey Weinstein Is Gone. But Hollywood Still Has a Problem.
How Digital Is Changing the Nature of Movies
How to Watch a Frederick Wiseman Movie
If You Want to Remember, You Have to Ask the Old Guy
Intrepid Boy on the Trail of Mysteries
Outwitting the Ayatollah With Hollywood’s Help
Plenty of Perky, Even This Early
Review: ‘A Star Is Born’ Brings Gorgeous Heartbreak
Review: ‘Black Panther’ Shakes Up the Marvel Universe
Review: ‘Dunkirk’ Is a Tour de Force War Movie, Both Sweeping and Intimate
Review: ‘Leave No Trace’ Is a Very American Story About Survival
Review: ‘Mission: Impossible — Rogue Nation’ With Tom Cruise and Plenty of Stunts
Review: ‘The Founder,’ the Story of a Supersize Businessman
Review: All the Feels, Hurts and Laughs of ‘Eighth Grade’
Review: In ‘Spectre,’ Daniel Craig Returns as James Bond
Review: In ‘The Fits,’ a Graceful Tale of a Girl Who Follows Her Own Beat
Review: In ‘The Martian,’ Marooned but Not Alone
Revisiting Concentration Camp Atrocities in Shattering Clarity
So Full of Himself, Yet Running on Empty
Style and Kinetics Triumph in a Turbulent China
Teenagers With Guns, Supposedly Good Guys (wow! ouch!)
The 25 Best Films of the 21st Century So Far
The British Class Divide, on a Personal Scale
The Spy Who Emerged From the Fog
The Worst Is Yet to Come: ‘Elysium’ Sends Matt Damon Into a Dystopian Future
What a Man! What a Suit!
When Do We ‘Get It’? Films Dispense With Storytelling Conventions