Film, TV & Streaming

Where the movie occasionally locates some surprise and resonance is in the tiny exchanges, when Wolf allows her characters to breathe.

The charm of a fantastical hand-drawn work like this is that it reconnects us to the primal wonder of the image.

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

In Between is a movie not so much about suffering as it is about the grinding reality of just being.

Versace is a puzzle the viewer puts together as it goes on, and the story seems to ripen with every episode.

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

In Paddington 2, the emigre bear (again voiced by Ben Whishaw) appears to be the glue holding the Browns’ diverse, colorful neighborhood together

Phantom Thread unfolds so quietly that the questions it’s asking about the nature of desire and attraction may not register immediately.

In The Commuter, Neeson faces a danger even that vaunted “particular set of skills” might not be enough to overcome: an America in economic panic.

Director Scott Cooper has yet to elevate his sensibility beyond a choked, self-inhibiting intensity.

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

The Post is not a fond, hazy glance back, but a terrified, urgent look forward.

Sure, it felt like 50 centuries, and we all look like Medusa, but we’re still (kinda) standing, so holy hell. I think that calls for some TV!

The show exists in a vaguely defined future time and place — its world’s particulars seem to vary from episode to episode, although fan theories suggest they do all take place in the same universe

Over the course of the film, we go from seeing the elder Getty as a figure of great power to one of no power at all, and that is perhaps the most fascinating part of the movie.

The January–March 2018 release calendar offers a surprising deluge of highly anticipated films.

I won’t waste your time attempting to sum up the totality of this year’s output, because I can’t.

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

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.

A major award.

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