The narrative is needlessly complicated, and it all seems crafted just to build to a single joke voiced in the third act.

Those seeking out some titillating times would be better satisfied by Googling “feminist porn” and clicking randomly.

Mockler seems to be striving for profound revelations about human connection (or lack thereof) in the digital age.

The film drags when Haneke pulls focus to the other, duller characters.

It’s a sad day when the cinematographer carries the full burden of storytelling.

The Post tells the story of the late Katherine Graham (Meryl Streep), the longtime publisher of The Washington Post, who took over its operations after her husband committed suicide in the 1970s

Chastain seems at times to be both the lead and her own supporting actor in this story.

Jackman’s goodwill and a splash of inspired choreography are not enough to earn the “greatest” in the title.

Some of them gave me hope for America, others invited me into foreign-to-me cultures and one even made me delightfully nauseous

Guadagnino adeptly captures not just physicality of a burning love but also the emotional and intellectual components, and the film is all the more salient for that careful, realistic interpretation

Those expecting camp or catfights won’t find them in Gillespie’s movie, which instead offers thoughtful and somewhat objective critiques.

Here are some quick U.S. stats: White women won the vote in 1920; some Native American women could vote in 1924, while the rest could not until 1947; Asian-American women first voted in 1952; and black women had to wait until the 1960s to freely exercise this fundamental right. But…

At a slim 77 minutes, Porto should seem as fleeting as the memories it’s trying to capture, but it dragged through so many dull scenes that I continually caught myself checking the time

The story follows a handful of townsfolk who are rocked by the triple homicide of three men, paid for by neglected wife Lila (Imogen Poots), whose husband is one of the victims

Director Martin McDonagh obligates himself to find the humanity in even the deeply flawed.

Despite the bright cinematography, there’s something quaint and comforting about this film and its brand of old-fashioned storytelling.

The film ultimately is about watching a morose child lose his grip on reality.

It might be time for Hollywood to stop giving Gibson a pass.

Joan Didion: The Center Will Not Hold premieres Oct. 27 on Netflix Joan Didion has set an impossible standard for any documentarian who would want to cover her life. She’s essentially already done it herself, brilliantly, in her essays, novels and films. Still, Didion’s nephew, actor/director Griffin Dunne, takes a…

This fall, mainstream films are subverting expectations all over the place. Darren Aronofsky’s Mother! proved too much for some audiences looking for a moody drama who were then shocked by gory, allegorical narrative. Blade Runner 2049 sloughed off most of its predecessor’s lower-brow populist action for a somber tone and…

When I first saw Brett Morgen’s 2002 documentary The Kid Stays in the Picture, I was shocked that the film somehow matched the rollicking, mercurial energy of its subject, producer Robert Evans. Morgen reimagined the use of archival footage and voiceover, and the style he pioneered has now been mimicked…

Jane arrives in theaters on October 20 On Sept. 11, 2001, renowned primatologist and environmental advocate Jane Goodall was in New York on business. She had planned to catch a flight out to visit a high school to give a talk on how we can find a reason to hope…