Denzel Washington delights as usual in an uneven thriller based on a classic Kurosawa film.

Witty energy and zingy one-liners can’t quite keep Ethan Coen’s neo-noir caper together.

Kiyoshi Kurosawa’s latest is a masterful, satirical horror tale of a shameless online scammer and the vengeance wreaked by ever-growing numbers of his unhappy customers.

The director’s latest is a none-too-subtle depiction of Covid hysteria, racial justice protests, isolation, and the rottenness of social media—and how they combine to rip apart the fabric of a small town.

The turbulent late ’60s saw the technique’s popularity explode—and it’s been helping moviemakers (and literary artists) engage with the unsettling tempos of modern life ever since.

The filmmaker’s follow-up to Past Lives is cerebral and frank about wealth and romance.

It’s also a rollicking not-quite thriller about family, financing, and (broadly) filmmaking itself.

The filmmaker’s tale of modern China probes the emotional toll of living through two decades of social upheaval.

Obviously this is a well-conceived plan by a very stable genius.

Two Dylan films—one very popular, the other quite obscure—stand out from the rest.

In his new film, Shrouds, paranoia seeps into the afterlife.

In an evening light on politics and controversy (mostly), host Conan O’Brien turned the show into a boosterism event for the film industry.

The new film, starring Marianne Jean-Baptiste, is a tender examination of dissatisfaction.

The filmmaker, who died this week, mixed the menacing with the everyday, the banal with the surreal and sublime.

The biopic starring Timothée Chalamet is a star-is-born fable viewed with 20/20 hindsight and through rose-tinted glasses.

The symbolism in Brady Corbet’s movie is heavier-handed than a fistful of concrete and steel.

“The Room Next Door” is not quite willing to confront its subject in all its difficulty.

Luca Guadagnino makes William S. Burroughs’s novella a love story that is sordid, pathetic, affecting, and true.

“Rumours” imagines a version of the G7 where world leaders descend into absurdity.

Jason Reitman’s movie is an ode to Lorne Michaels, afraid to take even small risks.