The directorial debut of Frances O’Connor is an engrossing fictionalized portrait of the woman who wrote Wuthering Heights.
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Director Neil Jordan delivers a balanced yet pointless regeneration of Raymond Chandler’s iconic private detective.
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Charlotte Wells’ debut about a father and daughter on holiday is a work of profound tenderness that hiccups with lumbering artiness.
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Vicky Krieps plays Elisabeth of Austria in this limp, moribund biopic that is at once delicate in beauty and frail in composition.
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Writer-director Sam Mendes’ new romantic drama is a reminder that, at its best, cinema is an affirmation of life.
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The latest indulgence in old Hollywood nostalgia from writer-director Damien Chazelle is an epic demonstration of abused creative potential.
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James Cameron’s sequel to his 2009 juggernaut is a dizzying spectacle that works in the best — and worst — traditions of American cinema.
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This comedy-thriller of fine dining manners knows the world it’s parodying, but issues of plausibility make the confection a bit wobbly.
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Director Maria Schrader and screenwriter Rebecca Lenkiewcz present a brisk, engaging entry in the long line of American movies about journalistic integrity.
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In this semi-autobiographical work, writer-director James Gray lays bare his visceral, unsettling childhood memories with characteristic gentleness and care.
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Ruben Östlund’s latest satire is a deliciously dismal take-down of wealth inequality, stretching from catwalks to luxury yachts to a rocky beach strewn with life vests and pretzel sticks.
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Based upon Delia Owens’ bestseller, the latest from producer Reese Witherspoon is part of an ongoing trend in movies about women who exact revenge on abusive men.
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The King of Rock-n-Roll is positioned as an exploited cultural dissident in director Baz Luhrmann’s sweeping new biopic.
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From kung fu action scenes to hot dog finger fights, the Daniels’ latest foray into a character’s splintered psyche is as audacious as it is contrived.
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A Viking epic directed by Robert Eggers,The Northman disappoints with its rapacious and meaningless violence.
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A silky if ill-fitting fabrication, Death on the Nile benefits from sensitive direction by Kenneth Branagh and a charismatic cast — especially the combustible Emma Mackey.
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Steven Spielberg directs a competent if unnecessary remake of a classic American musical.
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Edgar Wright’s Last Night in Soho should be a disciplined exercise in acknowledging abuses of the past, yet somehow it flounders.
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