Robert Downey Jr.’s upcoming remake of Alfred Hitchcock’s 1958 masterpiece is an act of corporate vandalism.
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An Irish drama about a reserved young girl who spends a summer with distant relatives, The Quiet Girl is directed by Colm Bairéad with intimate specificity.
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In this third spin-off to the Rocky franchise, Michael B. Jordan takes the reins and guides his predecessors’ macho creation toward quieter, more sensitive dimensions of manhood.
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This gory comedy from director Elizabeth Banks is inspired by an incident in 1985 when a black bear accidentally devoured millions of dollars’ worth of the misplaced drug.
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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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The 1979 Best Picture-winning family drama offers a fascinating diagnosis of contemporary gender expectations.
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Seventy years after its initial release, Roman Holiday remains a lovely, charming movie of gentle humanity.
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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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Director Ron Howard’s fantasy of rejuvenation via close encounters is a negotiation of our collective fears or wishes for old age.
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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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Nearly six decades after the release of Franco Zeffirelli’s 1968 adaptation, stars Olivia Hussey and Leonard Whiting are suing the film’s studio for sexual exploitation.
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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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David Fincher’s 2011 adaptation of the bestselling novel is queasily voyeuristic in its obsessive interest in a traumatized hacker’s experiences with sexual violence.
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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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Hal Ashby’s 1979 dark comedy locates a dormant conservatism in the American consciousness.
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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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