By Keith Uhlich | March 31, 2017

The first live-action take on the material, a big-budget Western production from Paramount and DreamWorks, is a worthy addition to the canon, if still exceedingly dubious in a number of its particulars.

By Leo Goldsmith | March 29, 2017

It is hard not to perceive something darkly subversive in the making of a film in which a beloved cinematic icon sits in bed, made up like a poodle and festooned in wig, frills, feathers, and fabrics, rotting away from gangrene while a whirlwind of bland and ill-equipped hangers-on try vainly to keep him preserved.

By Jeff Reichert | March 24, 2017

What happens when audiences have come to expect long-simmering, historically engaged Gesamtkunstwerks from a filmmaker and then are treated rapid-fire to a series of increasingly ungraspable present-day love stories? What is Malick doing in To the Wonder, Knight of Cups, and Song to Song, and why now?

By Lauren Du Graf | March 22, 2017

By centering on Helen, the film has a feminist streak, a badly needed course corrective for a musical genre whose histories overwhelmingly stem from the perspective of men worshipping at the altar of other men.

By Kelley Dong | March 17, 2017

Kore-eda has explained that his latest film, After the Storm, is an unofficial sequel to his 2008 drama Still Walking. Both films contemplate the fresh wounds left by a deceased family member on the living; the former takes place over the course of a single day, the new film over several weeks.

By Chris Wisniewski | March 8, 2017

Assayas seems to have conceived this film as several genre pieces in one (a pseudo horror, a psychological thriller, a melancholy drama about grief), but each of these strands, incomplete in its way, serves a grander and fully realized purpose in the larger ontological excavation of Maureen.

By Jon Hogan | March 1, 2017

Conceiving this project after giving a guard team permission to use his music in 2008, David Byrne enlisted the Ross brothers, with their actively observant style, to document this evening, melding two art forms into a new type of performance.

By Nick Pinkerton | February 24, 2017

The premise serves as a malleable metaphor: the white coopting of black cool, cited as one of the reasons for the selection of exclusively black targets; the ongoing use of unwilling black bodies to perform white labor from plantation to penitentiary; and the pressures of conformity borne by the blacks living among white affluence.

By Keith Uhlich | February 16, 2017

There are pretty pictures, some interesting in broad-stroke conception, that are nonetheless leeched of those intangible qualities that would lend them genuine grandeur and thematic heft. As a result, they just sit there, heavy on the eyes, light on the heart and mind.

By Michael Koresky | February 2, 2017

With the tone and care of the genuinely righteous, his voice was that of a herald, with writing that sliced through hypocrisy and the specific, tragic banality of American life with a swift condemnation that managed to touch the sublime.

By Justin Stewart | February 2, 2017

There is high public interest in stand-up comedy, evidenced by the popularity of Louie, The Aristocrats . . . the ability of comics like Hannibal Buress and Amy Schumer to make headlines and the preponderance of specials on streaming services like Netflix. But the subject has been a hard nut for narrative features to crack.

By Adam Nayman | February 1, 2017

The opening scene of The Lure cleverly reverses the age-old relationship between sirens and their prey. It hints that it is the fishtailed siblings who are being musically mesmerized, rather than the other way around.

By Michael Koresky | January 19, 2017

Staying Vertical is an aggressively conceptual cycle-of-life saga that brings the director back to his earlier model, in which characters ramble through a freeform narrative with no fidelity to logic.

By Jordan Cronk | January 12, 2017

The deft deployment of overt symbolism, coupled with an empathetic attention to the emotional travails of the characters, allows the film to operate equally well as a theologic parable, an existential comedy, and an anachronistic family drama.