Aaron Sorkin's take on the scandals and controversies of Lucille Ball and Desi Arnaz is Sorkin-y to a fault. But Nicole Kidman, Javier Bardem, and the rest of the cast keep things interesting.
This is the first musical Spielberg's ever made, but he proves a natural: Few other American filmmakers have a more instinctive sense of rhythm and visual flow, or more direct access to your emotions.
As the year draws to a close, critic John Powers singles out seven revelatory people or things that made 2021 a little brighter. At the top of his list? Basketball star Steph Curry.
After his wife's death, a middle-aged stage actor forms an unlikely bond with the 20-something woman sent to be his chauffeur. Drive My Car is an intricately structured drama about love and loss.
An enterprising teen and a 20-something photographer's assistant become unlikely friends — and then zig-zag from one comic episode to the next — in this altogether wonderful film.
Jane Campion's Western plays out like a tightly wound psychological thriller, featuring Benedict Cumberbatch as one of the scariest characters you're likely to meet this year.
A new documentary looks at the "wardrobe malfunction" during the 2004 Super Bowl halftime show in a new light– but doesn't definitively answer some important questions.
In a rare dive into personal territory, Branagh details growing up amid the Troubles in Northern Ireland. But despite some lovely moments, Belfast feels guarded in its telling.
The new film Spencer is not a Princess Diana biopic. It is, instead, an attempt to put her in a different cultural context by putting her in a different kind of film.
Filmmaker Joanna Hogg conceived her 2019 semi-autobiographical drama The Souvenir as a two-part work. The second installment is a wonderfully generous movie, sardonic in tone but rich in emotion.
Denis Villeneuve's adaptation of Frank Herbert's novel is undeniably staggering. But his Dune also feels rudimentary, as if he's managed his source material without fully mastering it.
Wes Anderson's meticulously-constructed tenth feature adopts the format of a New Yorker-like Sunday magazine supplement to tell three very different, but equally idiosyncratic, love stories.
