Working from a novel by Willy Vlautin, Haigh has committed himself to making a boy-and-his-horse movie that’s scraped free of everything false or sentimental about the genre

This Terror, developed by David Kajganich and certainly the best of AMC’s prestige-TV horror series, is always suspenseful, superbly acted, shrewdly paced and committed to the summoning up what the experience of Arctic isolation might actually have been like

Curran’s film, often enthralling and upsetting, represents a welcome break in the hagiographic treatment the longtime Lion of the Senate enjoyed in the years leading up to his 2009 death

The mode is comic frustration, the story centered on a reasonable man (played by Armie Hammer) frustrated at the eccentricities of a wild-haired genius (Geoffrey Rush, as the painter Alberto Giacometti)

Even as Maoz seems to be addressing his themes head on, he’s cleverly setting up the conditions for tragedy, and when it hits, it’s somehow both shocking and inevitable

Uthaug’s film, like the recent reboot of the video-game series, gives us a grittier Lara Croft.

Here is a movie made for and about the people who believe they are the essence of American normalcy, a movie that dutifully flatters and celebrates them even as it works to expand who that normalcy actually includes

… This first English-language feature from Italian director Paolo Virzi (Human Capital, Like Crazy) is at times moving in its sincerity, thanks to stellar casting and the director’s clear-eyed perspective on aging and dementia …

Thoroughbreds’ best trick is to convince us, through the aching stillness of its stars’ eyes, that it might not actually be a twisty, twisted thriller inspired by the likes of Strangers on a Train

The film concerns above all else accumulation and dispersal, in the American vein.

It’s often inspired in its cutting and composition, and Garland has crafted sequences of strange splendor, including a too-short cosmic light show.

The latest film, the long-delayed The Death Cure, opens with a train heist that suggests, at once, the Mad Max films, the Fast & Furious franchise, and The Wild Bunch by way of Young Guns by way of a Gap ad

When these performers get the chance to exchange dialogue, to react to each other rather than declaim the movie’s themes, Film Stars Don’t Die in Liverpool rouses to life.

The Ritual finds a quartet of British lads/drips hiking through the deserted woods of northern Sweden.

The Insult is a little pushy, sometimes even tough to swallow, but no more than actual geopolitics.

For much of The Final Year, convinced of Hillary Clinton’s victory, Obama’s crew insist that their successes and failures are part of a continuity.

It’s a somewhat boisterous adventure, a war movie where you cheer not just for the boys to make it home but for them to complete the mission.

New York is not a character in The Alienist, but it is the show’s star, its beating heart.

First, these are my favorite movies of the year, not a claim to rank the definitive best, so don’t write to tell me that your favorite should have made it

Morris’ film dramatizes Olson’s last days between interviews with Olson’s son Eric and journalists and lawyers who have taken the case as a cause.

The Pitch Perfect films have offered an increasingly unpalatable blend of pop-song empowerment, rah-rah women’s friendship and broad gross-out comedy

Any thinking person watching Downsizing is 10 steps ahead of Damon’s blinkered schlub.