With this category, we realize that precedent is increasingly illusory.
Guillermo del Toro’s Pinocchio Review: Stop-Motion Breathes Spectacular Life into a Classic
The film is marked by wild flashes of invention, all born of painstaking craft and devotion.
Field’s first film in nearly two decades can’t quite decide on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
Like Vice before it, the film too often uses satire as a tool of castigation rather than as a means of truly taking on the status quo.
Guillermo del Toro reimagines an agonizing, still shocking noir as an exhibit in a wax museum.
Paramount Home Entertainment’s UHD discs add to an already impressive 4K roster for Spielberg’s filmography.
The series suggests that winning hearts and minds is a naïve pipe dream, a strategy more fit for TV than for electoral politics.
The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
The film is noteworthy for its rumination on the subtle costs of its characters’ newfound prosperity.
While the film’s perception of the politics of the jungle is often profound, the same cannot be said of its take on the human world.
By the end, The House with a Clock in Its Walls completely loses sight of the trauma and grief that was meant to give the film its emotional core.
Part of the pleasure of Gary Ross’s film lies in watching it turn a typically male-dominated genre on its head.
The new trailer for Ocean’s 8 reminds us, more than once, that committing a crime can be deliciously fun.
Thor: Ragnarok is the flamboyantly roller-disco entry in an already uncomplicatedly cartoonish side franchise.
The film’s visceral pleasures often work at cross purposes with the cerebral message of the manifestos.
Terrence Malick’s Song to Song is about floating along on currents of uncertain desire and excitement.
The films at this year’s festival offered plenty examples of legacies lived up to and not—neglected and obsessed over.
Voyage of Time is arguably the fullest expression of the cosmic themes that filmmaker Terrence Malick has explored for the last decade.
Blanchett’s famously steely face becomes unrecognizable in the video for the trip-hop band’s new song.
The film has the uncanny quality of an out-of-body experience, not a torn-from-the-heart confessional.