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A train ride from Moscow to the arctic port city of Murmansk would not seem like the most likely setting for anything as warm as Finnish filmmaker Juho Kuosmanen's “Compartment No.
A man sits on the edge of an infinity pool contemplating his existence in Michel Franco’s “ Sundown.” It’s one of many such ennui-laden images, though the settings get less luxurious as we go along on this strange journey with Neil, a man who decides to drop out of his own life suddenly and with no explanation.
Once upon a time there was a film that didn't know what it was. A romantic comedy? Perhaps. A period drama? A fairy tale? A tween fantasy mixed with royal intrigue? No matter. Producers threw a lot of cash at the film and filled it with movie stars.
In the new Netflix movie “ The Royal Treatment,” the chief of staff for the prince of a fictional European country accidentally calls a run-down salon in the Bronx to schedule a haircut for His Royal Highness, Prince Thomas.
When we last we saw George MacKay running, he was sprinting full-tilt across a World War I battlefield. In “1917,” the British actor played a soldier tasked with delivering a message that a soon-to-be-launched offensive is doomed to fail.
“If you’ve ever owned a slave, please raise your hand,” Jeffery Robinson asks a live audience at the beginning of “Who We Are: A Chronicle of Racism in America,” a searing documentary based on a lecture he’s spent a decade perfecting.
Here are some good things about the fourth Hotel Transylvania movie: Kathryn Hahn, who is as evocative a voice actor as she is in live action; The monster sidekicks voiced by David Spade, Keegan-Michael Key, Steve Buscemi and Brad Abrell; A joke about a single marshmallow (really); The revelation that the invisible man has been naked this whole time; The 94-minute runtime; And its easy accessibility on Amazon Prime Video starting on Jan.
Ring. Ring.
Twenty-six years after the original, “Scream” calls again. We're now up to the fifth film in the franchise, but the first since 2011's “Scream 4.” Enough time has passed that this one, titled simply “Scream,” bears no number, no caller ID.
Anime master Mamoru Hosoda makes movies that, even at their most elaborate, can reach such staggeringly emotional heights that they seem to break free of anything you're prepared for in an animated movie — or in most kinds of movies, for that matter.
It’s always a little suspect when too much is made of a big action movie being “female-fronted.” Unfortunately, Hollywood has decided lately that in course correcting for decades of gender inequity in certain genres that it’s not enough to just make an action-packed movie starring more than one woman: They must let the audience know that they know that this is A Girl Power Moment.
In Iranian filmmaker Asghar Farhadi's films, reasonably straightforward set-ups — a divorce, a missing woman, a newly lent apartment — unspool such complex, cascading developments that it comes as no surprise that a found handbag stuffed with gold coins leads to countless fluctuations of fortune and anguish in his latest, “A Hero.”
Clifton Collins Jr. has made a career out of being a supporting player. Even if the average moviegoer might not know his name, you know his face and his work. Collins always manages to stand out, whether in a pivotal role like Perry Ellis in “Capote” or a glorified cameo in “Once Upon a Time in Hollywood.” He’s got acting in his blood: His grandfather was character actor Pedro Gonzalez Gonzalez who appeared in a number of John Wayne films, including “Rio Bravo,” and his great uncle was a Hollywood player too.
His hair is graying. His nerves are fraying. Denzel Washington’s Macbeth is a man quite literally running out of time — even before he meets those witches.
At 66, Washington is certainly at the older end of the spectrum of conceivable Macbeths.
Two women meet in a maternity ward and their lives become inextricably linked in Pedro Almodóvar’s gentle but penetrating “ Parallel Mothers.”
How deep does the rabbit hole go? Deep enough, it turns out, to accommodate at least four movies, several videogames, a comic and countless pairs of sunglasses.
In the 22 years since the “The Matrix” debuted, it has never left us — or depending on your pill of choice, we have never left it.
There are distinct pleasures to be had in watching Ralph Fiennes play the lead in an action franchise at this stage in his career.
For as fun as he is as erudite bon vivants, scoundrels and snobs, you always leave wanting more M.
Be sure to pack tissues before seeing “A Journal for Jordan” — and we don’t just mean to keep the omicron variant at bay.
No, this Denzel Washington-directed love story may leave you sobbing as it explores duty, sacrifice, death and parenthood.
There are a lot of movies out this holiday season but only one where you can see a slug sing Drake's “Hotline Bling.” Ah, the magic of cinema!
“Sing 2,” the sequel to the 2016 animated hit, packs the jukebox again with more than 40 songs, from BTS to Billie Eilish.
Motherhood. It’s such a rich subject for art to ponder, you’d think we’d have already seen every kind of mother onscreen.
But actually we haven’t. Sure, we’ve seen good moms, bad moms, crazy moms, selfish moms, generous moms, loving moms, cold moms.
A title like “ Nightmare Alley,” especially when paired with a filmmaker like Guillermo del Toro, suggests a certain kind of movie. Del Toro, the director of “The Shape of Water” and “Pan’s Labyrinth,” has a signature style after all.
If you're ever thirsty on Long Island, look for a dive bar called The Dickens. It's a nice place, from all accounts. There are books everywhere, a group of sweet, lovable locals and a bartender who is a good soul with a tough exterior.
Spider-Man movies have come in such flurries over the last two decades that you could almost tell time by them. Who needs the long centuries of the Triassic, Jurassic and the Cretaceous, when, in the span of just one generation you can have the Tobey epoch, the Garfield era and the Tomozoic?
You know you’re in deep doodoo when that planet-destroying comet on a collision course with Earth isn’t your biggest problem.
Your biggest problem: You’re the scientist who discovered the darned thing but nobody has the patience or the bandwidth or the political will to believe it.
Mikey Saber, the antihero of Sean Baker’s new film, has a bit of a problem during job interviews. He has a hole in his resume — stretching some 20 years.
He explains to the bosses at Dollar General or the local diner that he was “self-employed” or was in “entertainment.” The prospective employers just want to know what he was doing for so long.
If things had gone according to plan, Lucille Ball would have been a major movie star. Instead, she had to settle for being the queen of television comedy for over 25 years. Not exactly a lousy alternative.
We're so rife with reboots and remakes today that it can take a moment to gauge just what Steven Spielberg's “West Side Story” is. It isn't a papered-over modernizing or a thinly disguised retread.
Paolo Sorrentino's films can be overwrought, grotesque and uneven but they are rarely not alive.
His latest, “The Hand of God,” is a catalog of wonders — of miracles both banal and eternal.
Filmmaker Jonas Poher Rasmussen was 15 when he encountered a new face on a local train in his sleepy Danish town. It was the kind of place where immigrants couldn’t help but stand out, but Rasmussen noticed this kid’s style first.
Christmas is just around the corner and Paul Verhoeven has left a present for us during this hallowed season: A film with lesbian nuns, full-frontal nudity, tons of sex, Catholic hypocrisy and brutal self-flagellation.
It’s school picture day at a high school in Southern California's San Fernando Valley in the opening scene of Paul Thomas Anderson’s 1970s-set “Licorice Pizza.”
Laughter and tears. Fun and disappointment. Affection and insults. Anxieties, hostilities, too much food, too much alcohol.
In other words: Thanksgiving.
This year, Thanksgiving stories in the news are about COVID, and how families will navigate inter-generational mingling.
Everything in “House of Gucci” is over the top. The accents. The performances. The fashion. The settings. The runtime. The music. The greed. This movie knows exactly what it is and, sweetie, it is gloriously decadent, ridiculous fun.
Mirabel is extraordinary, in that when it comes to her family, she is totally normal.
That's the set-up for Disney's absolutely charming new animated musical “Encanto,” which flips the typical children's movie script.
Tracking shots of a solitary figure striding across a Western plain, seen from within the darkened interiors of a home, bookend Jane Campion's “The Power of the Dog." As the man walks, with wrinkled foothills behind him, the camera glides through the house.
It’ll be a sad day for movies the moment Mike Mills stops finding family members to be inspired by. We got “Beginners” because of his father and “20th Century Women” because of his mother. And now, because of his child, we have “C’mon C’mon.”
“ King Richard ” is exactly what you think it will be, which isn’t a bad thing.
This is the story of the father of tennis greats Venus Williams and Serena Williams when they were just a few (extremely) talented kids from Compton trying to break into the elite sport with little more than heart and persistence.
“Ghostbusters: Afterlife" — the direct cinematic follow-up to the 1984 classic — is haunted, of course. But not in a good way.
Director and co-writer Jason Reitman's sequel leans so hard into his dad's original that it sometimes seems like a checklist of the megahit's touchstones, from the Ecto-1 tricked-out Cadillac, to Stay-Puft marshmallows, appearances from the surviving Ghostbusters and even the same Ray Parker Jr.
“Tick, Tick... BOOM!,” Lin-Manuel Miranda's affectionate, well-crafted adaptation of Jonathan Larson's “rock monologue,” captures all that's grand and beautiful about musical theater, and a little of what can make it insufferable, too.
It’s really not that complicated. Kids love dogs. Dogs love kids. Separate them at your peril.
So despite obvious efforts to link the beloved and durable “Clifford” story, about a huge dog and the little girl who loves him, to a bigger and more current message in the CGI-meets-live action “Clifford the Big Red Dog, ” it really isn’t necessary.
If you didn’t know Kenneth Branagh’s new film “ Belfast ” was based (somewhat) on his own childhood, you probably wouldn’t know it by the end either.
There’s a semi-serious joke on Twitter about releasing the “all-Julia cut” of “Julie & Julia.” Nora Ephron’s generation-hopping tale of Julia Child's rise and the modern young woman trying to follow her lead has its fans, but it’s no secret that the Julia Child section is just more interesting than Julie’s.
The casting, with Kristen Stewart as Princess Diana, is brilliant, and the ending, in a top-down convertible, is sublime. So why is the rest of Pablo Larraín’s “Spencer" such a hollow exercise in high camp?
You can tell “Eternals” is going to be epic right from the opening crawl line: “In the beginning...” That's right, the film actually swipes language from the Book of Genesis. The Marvel Cinematic Universe just got biblical.
Tom Hanks doesn’t need a human or even a sentient acting partner to make a film or a scene sing. Think Wilson the volleyball, Hooch and even that laptop from “You’ve Got Mail.” So it’s not at all surprising if he’s the first guy on the list for your post-apocalyptic film about a man, a robot and a dog.
Rarely have the hues of black and white, cinematographically speaking, looked so beautifully lush as in “Passing,” the hugely impressive directorial debut of actor Rebecca Hall.
Who knew that digging the Kinks could be so dangerous?
“The Kinks Are the Village Green Preservation Society” (an album good enough to die for, truth be told) is one of the records that Eloise Turner (Thomasin McKenzie) stuffs into her suitcase when she gleefully packs for London.
There’s nothing quite like a decaying industrial town in the middle of a chilly, grey-skied fall to set an immediately gloomy mood in a film. Not that Scott Cooper’s “ Antlers ” needs any help in that department as it already deals with child abuse (sexual and psychological), poverty, bullying, hunger, sickness, generational trauma, environmental degradation and ancient native superstitions.
One of the unlikeliest heroes to emerge from Zack Snyder’s horror-action flick “Army of the Dead” earlier this year was an oddball safecracker named Dieter.
Part nerdy Eurotrash, part pretentious busybody, Dieter was never going to make it out alive.
There's a clear message in the new film “Ron’s Gone Wrong” and that message is to stop watching films like “Ron’s Gone Wrong.”
A derivative tale about a middle schooler and his quirky computer sidekick, the animated film seems to want to preach we should all disconnect from our devices and restore human contact.