With this release, Sayles’s complex neo-western noir is primed for long-overdue rediscovery.
The film brushes up against a greater truth about how men and women move through the world.
Jon Stewart’s amiable satire tries to show that you can make light political comedy in the Trump era.
Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.
Marielle Heller takes a script that many filmmakers would turn into cringe-inducing treacle and interrogates the sentimental trappings.
This is one of the rare American films to give dramatic heft to the strategic challenges and mortal stakes of labor organizing.
Heavy on training montages and intergenerational torch passing, Cars 3 is an old-fashioned sports film at heart.
Live by Night adds a new wrinkle to the well-traveled terrain of the mafia film: the woke gangster.
It may be the first movie in which a character stops shaving his chest in order to express his independence.
What works about the film can largely be attributed to Tracy Letts’s original text.
Streep has earned kudos for a performance that’s fine, but not stellar when measured against her better work.
The relative quality of generational family abuse, a prominent motif in the play, comes through loud and clear.
The poster for August: Osage County would have been an event no matter what it looked like.
Robert Redford’s film is blindly cocooned by its own nostalgic self-regard.
A veritable romper-room presentation of this lovable (or, for some, insistently love-craving), reflexive musical comedy.
It works best as a sweet valentine to the late 20th century’s most beloved vaudeville gang’s staying power.
John Sayles pointedly evokes America’s military intervention as an extension of the nation’s treatment of its own indigenous people.
The Company Men is comfort food for the corporate class in crisis.
John Sayles’s human mosaics have always sparked hope for the salvation of American independent film.
Julie Taymor’s film isn’t as disastrous as it could have been, though it does fundamentally fail Shakespeare’s play.