While there are plenty of drinks, drugs, and women in Welcome to New York, there is no pop soundtrack, no swerving camera movements, no dazzling cross edits, no...
There is something odd about the way Hilary Swank moves in The Homesman, the second film directed by Tommy Lee Jones after The Three Burials of Melquiades Estra...
The hotel at the center of the drama in Winter Sleep -- both the newest film from Turkish director Nuri Bilge Ceylan and sure to be one of the most-beloved titl...
Aggressively stupid when it’s not downright illogical, it is hard to imagine a film less deserving for a competition slot at this year’s Cannes Film Festival th...
It’s likely that you’ll know well ahead of entering the theater whether or not Disney’s Million Dollar Arm is your kind of entertainment. The final product—a we...
Cyber-Seniors, a personal documentary directed, narrated and edited by Saffron Cassaday (who remains mostly off camera), opens with the explanation that the ins...
On their surfaces, Mike Leigh and J.M.W. Turner — the artist at the center of his latest film, Mr. Turner — couldn’t seem more like polar opposites. The 19th-ce...
Abderrahmane Sissako can no longer be called one of the greatest African directors of our time; he has become, simply, one of the greatest directors of our time...
No one can say I didn't do my due diligence, but I simply can't wrap my head around Dan Fogler and Michael Canzoniero's stoner-tinted, loose modernization of Do...
A tracking shot slowly moves around a blonde princess on a Hollywood set. We follow the applause as she leaves for the final time and into her dressing room, le...
