The new one is bigger and dumber than the previous, a feat considering the relentless clatter of the 1995 iteration.

Here’s a war movie about rhetoric rather than battle scenes.

As Ginny and her life unravel, Allen’s sympathy for her seems to dry up, and she becomes something like the villain of the piece.

An article, a book and now a film, Talese’s fascination with Foos’ voyeurism still hasn’t resulted in anything like rigorous journalism

Alpert checks in again and again with the same three families over 45 years of visits to the island, with sometimes heartbreaking results.

Tis’ the season for Christmas movies, and this one is worth seeing.

Here’s a kiddo’s quest to define a self, in this case the descent of young Miguel (voiced by Anthony Gonzalez) into a land of the dead inspired by Dia de los Muertos celebrations

This is the first time a Marvel TV show has stunned me: Why in the era of binge-able continued-narrative TV series would the producers kill dead their momentum

The drama is mostly interior, and Washington’s quiet performance tends to reveal the jittery surface rather than the tortured soul

For all its quiet fury, Alias Grace is above all else a superior dramatic mystery.

Director Rob Reiner offers us an American presidency to escape to.

This piece has spoilers for the first six episodes of the second season of Stranger Things.

Maybe it’s encouraging, in a way, that an America in crisis struggles so mightily to make crowd-pleasing war movies. Whatever their politics, no studio exec today would let a wide-release desert-war drama come right out and say what even the GOP increasingly admits: that Iraq was a mistake, that Afghanistan has…

The last few months have seen some welcome innovation in the cry-along subgenre of dramas about finding the will to keep living after bodily catastrophe. First, in the notably sincere and unsensational Stronger, director David Gordon Green and his crew strove to strip away as much of such films’ usual…

You’re right not to trust a film critic who calls a move stunning. But let me say this about Human Flow, the epic new documentary surveying the scope of the global refugee crisis, from Chinese artist/activist Ai Weiwei: It stunned me, in the truest sense of the word. Again and…

Something of a prank, a farewell, an art project, a buddy comedy, a vox populi tour of the French countryside, and an inquiry into memory and images and what it means to reveal our eyes to the world, Faces Places is a joyous lulu. It finds the great documentarian and…

America may be crumbling, but here’s at least one truth that might be cheering: They’ve finally figured out biopics. Ever since Walk Hard kicked its ass, that hokiest, flabbiest, most hilariously reductive of movies genres has become, like horror, the rare genre where the studios allow filmmakers to take risks,…

Spielberg premieres Oct. 7 on HBO.

Still trudging through the blasted desertscape of the mind 33 years after Paris, Texas, Harry Dean Stanton hoofs along beneath the opening titles of Lucky, his richly aimless swan song, past cacti and scrub brush, the sparseness of the landscape suggesting something of the lead’s drift of mind. Stanton’s Lucky,…

With its cast of Kate Winslet and Idris Elba, its original non-franchise source material, its adult concerns and utter lack of superheroics, Hany Abu-Assad’s The Mountain Between Us stands as the kind of movie that grown-ups I know often say they wish the studios would make — and then tend…

“This was the first time I ate food from a garbage can,” says the documentarian Nanfu Wang some 10 minutes into I Am Another You, an excellent, intuitive study of American wanderlust. We see her doing just what she’s described, as she’s handed off her camera to the 22-year-old street…

Gerald’s Game premiered on Netflix on September 29. One of the most hilarious things I’ve ever seen on television comes early in The Langoliers, a 1995 ABC miniseries adapted by Tom Holland from a Stephen King novella. It’s the one about a small group of travelers waking up on a…