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‘Mārama’ Review: Gothic Revenge Horror Channels the Fury and Grace of New Zealand’s Māori People
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‘Jim Queen’ Review: Raunchy Animated Movie About a Disease That Turns Gay Men Heterosexual Plays Straight to Its Core Audience
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‘Outlander’ Showrunner Breaks Down the Series Finale —but Won’t Explain the Ending
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‘Hope’ Review: Na Hong-jin’s Blockbuster Creature Feature Is Undone by a Terrible Script and Some of the Worst CGI Since ‘The Mummy Returns’
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‘Another Day’ Review: A Fantastic Adèle Exarchopoulos Boozes Her Way Through a By-the-Numbers Addiction Drama
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‘Avedon’ Review: Ron Howard’s Portrait of an Icon Who Shot Portraits of Icons
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‘Colony’ Review: Yeon Sang-ho’s Latest Zombie Saga Paints Civilizational Collapse with Too Broad a Brush
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‘I’ll Be Gone in June’ Review: Two Teenagers Grapple with Otherness in Katharina Rivilis’ Spellbinding 9/11 Time Capsule
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Who Will Win the Cannes Film Festival Palme d’Or?
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‘The Beloved’ Review: Javier Bardem Is a Hotheaded Director in Spanish Daughter-Daddy Drama in Search of a Better Script
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‘Paper Tiger’ Review: Adam Driver Gives a Career-Best Performance in James Gray’s Devastating Tragedy
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Asghar Farhadi Lives in Iran, but Won’t Make Movies There
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How Aleshea Harris Combined Influences from Across History to Create Her Tragic, Absurd Debut ‘Is God Is’
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‘The Diary of a Chambermaid’ Review: Radu Jude Delivers a Surprisingly Touching Meta-Adaptation
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‘Atonement’ Review: Emotionally Powerful Anti-War Film Shows That Bullets Fire Both Ways
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‘Sheep in the Box’ Review: A Married Couple Adopt a Robot Copy of Their Dead Son in Hirokazu Koreeda’s Emotionally Stilted Riff on ‘A.I.’
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