“ Close ” is a crushing story of grief told with grace by Belgian director Lukas Dhont.
Spoiler alert: J.Lo looks fantastic in a wedding dress.
You surely knew that, given not only the plethora of wedding-themed movies Jennifer Lopez has made over the years, from “The Wedding Planner” to “Monster-in-Law” to the recent “Marry Me,” but also her own offscreen life, of course.
Like most things, the title of Mia Hansen-Løve's “One Fine Morning” sounds better in French.
“Un Beau Matin" doesn't have that same rom-commy ring.
Ezra Cohen and Amira Mohammed don't exactly meet cute. He jumps into the backseat of her red Mini Cooper, mistaking it for his Uber and she starts punching him, thinking he's an intruder. “Help I’m being attacked!” she screams.
Emotional abuse rarely gets the subtle, sensitive treatment on screen as it does in Mary Nighy's thoughtful if uneven drama “Alice, Darling,” starring Anna Kendrick.
In Jesse Eisenberg’s smart directorial debut, “ When You Finish Saving the World,” Julianne Moore plays a Good Person, at least on paper. Evelyn runs a women’s shelter for the victims of domestic abuse and other kinds of horrors.
June Allen’s mother has vanished during a romantic vacation with her boyfriend to Colombia when “Missing” starts gaining steam. The FBI are supposedly on it, with one special agent telling June: “The best thing you can do is wait by the phone.” Wait by the phone?
First, the real-life facts of the case, more shocking than you’ll find in most fiction: In November 2013, a mother took a train from Paris to the northern French coast, along with her 15-month old daughter.
It’s never a good idea to promise too much, either in an invitation to a house party held in a stranger’s mansion, or in a reboot of a three-decade old hit.
But the new “ House Party ” does just that, starting out with a romantic voiceover about Los Angeles, where we’re told “a party can change your life” as we’re shown a loving montage of storefronts and people in South LA.
After “Airplane!” “Airport,” “Up in the Air,” “Flight," “Snakes on a Plane," “Non-Stop” and “The Terminal," we have finally arrived, like weary passengers reaching an unexotic destination, at “Plane.”
Sentimental tales about grumpy old men and American decline have, until recently, typically been the domain of Clint Eastwood.
But in “A Man Called Otto,” Marc Forster's adaptation of Fredrik Backman's bestseller and a remake of the 2016 Swedish film “A Man Called Ove,” it's Tom Hanks prowling the neighborhood and irritably grumbling about how things used to be.
The Korean drama “ Broker ” begins like a noir. A young woman walks slowly in the pouring rain in the middle of the night in Busan, her flimsy hood doing little to keep her dry.
Civil wars over semicolons and heated debate over the word “looms” would not, on the face of it, seem like the stuff of a gripping big-screen movie.
Whitney Houston’s voice was one of a kind and the creative team behind a new big-budget biopic of the singer had no choice but to agree.
Grab a jacket or a blanket before you watch Netflix's engrossing “The Pale Blue Eye.” I don’t care if you’re already in a warm place. You could be on the surface of the sun and still feel chilly watching it.
It's probably not fair, this season especially, to recoil at the remaking of a classic. “A Christmas Carol," for one, has been told and retold countless times, and who among us won't jump at the chance to watch the Muppets or Bill Murray do their version of Dickens.
A winsome young woman marries into the top echelon of royalty, becomes lonely in a passionless marriage, and suffers eating disorders and depression even as she fascinates the outside world. Decades after her untimely death, they’re still making movies and TV shows about her.
“Perhaps the ballyhoo meant nothing,” Kevin Brownlow wrote in his defining history of the silent film era, “The Parade’s Gone By…”
What happens when your home no longer feels like a home? When the rules of your life no longer make sense? When your body is not your own? When your children are not safe and neither are you? Do you look for justice?
Quick, without looking, guess how long it’s been since there’s been a Shrek movie or even a Shrek-adjacent one. Over a decade seems too long for such a popular franchise, right? And yet here we are, 11 years later, welcoming back Antonio Banderas’s swashbuckling feline in “ Puss in Boots: The Last Wish,” which opens in theaters Wednesday.
It is impossible to talk about “Avatar: The Way of Water” without sounding hyperbolic. But James Cameron’s sequel is a truly dazzling cinematic experience that will have you floating on a blockbuster high.
Let’s face it, “Pinocchio” has always been an odd choice for a children’s morality tale.
Of course, lying is wrong. But that’s not the only message the story sends. Even the classic 1940 Disney version — lighter and more kid-friendly than the 1883 Collodi tale — still sends the message that if you’re not “good,” you don’t deserve to be human.
The center of gravity of “The Whale” is obviously the 600-pound man at its center. Look closely, though, and he's the one with a soul as light as a feather.
Olivia Colman plays the manager of a movie theater in Sam Mendes’ new film “ Empire of Light.” It’s a cinema palace in a small town on England’s south coast that is showing its age.
In one of the more effective moments of “Spoiler Alert,” the camera does something unexpected and wise: it leaves the room. At the very moment a dining-table conversation becomes unbearably painful, the viewer is moved outside, where we can only watch the characters in shadows through a window, hearing nothing.
It comes as some relief that Antoine Fuqua's “Emancipation,” starring Will Smith as a runaway slave in Civil War-era Louisiana, is not, at least traditionally speaking, an Oscar movie.
The lovely and magnetic young actor Emma Corrin certainly has a thing for characters who marry unwisely.
We cringed when Corrin’s winsome, affection-starved Diana married Charles in “The Crown,” knowing the heartbreak that lay ahead.
Elegance Bratton is certainly not the first person to turn to the military to fill a hole in his life.
A gentle and mournful spell is cast by Joanna Hogg’s “The Eternal Daughter,” a ghost story where memory is manifested – visited, intruded upon and, finally, made to glow.
The holiday season is upon us and how better to celebrate than watching Santa slip several pool balls into a Christmas stocking, swing them in the air menacingly and see him cave in someone's face?
Nan Goldin, the subject of Laura Poitras’ Venice Film Festival-winning documentary “ All the Beauty and the Bloodshed,” is a name you probably either know well or not at all.
Is Searcher Clade the most millennial dad in all of animated moviedom? He has that telltale hipster beard. A sensitive voice sorta like Jake Gyllenhaal. And he feeds his kid avocado toast, with an egg on top.
If you don't have children, you will likely walk out of “The Son” shaken and deeply moved. If you do have kids, you may have to be eventually pulled to your feet after collapsing into a fetal ball for several hours.
Like Don DeLillo’s 1985 novel, the heart of Noah Baumbach’s “White Noise” is in the supermarket. There, in the gleaming aisles of neatly arranged cereal boxes and produce, DeLillo found America’s church: an over-lit spectacle of abundance and artificiality.
The business of making original movie sequels is often a thankless job. You can’t just do the same thing again, but you also can’t be too different either. And many watching will have their guard up from the outset, suspicious that it is ultimately just a shameless cash grab.
There must be something about actor Glen Powell that casting directors associate with the heavens.
He’s played astronaut John Glenn in “Hidden Figures,” voiced a NASA official in the animated film "Apollo 10 1⁄2” and has two roles this year as a hotshot Navy aviator.
Those old Hollywood newspaper flicks are great, but today’s journalists don’t run around newsrooms yelling “Get me rewrite!” Nor do they sprint across the room shouting “Stop the presses!” over the click-clack of teletype machines and manual typewriters.
Zombies had a good run. Vampires had their day in the sun. Now, it seems to be cannibals' turn for their bite at the apple.
Luca Guadagnino's “Bones and All” gives them that, and more, in casting Taylor Russell and Timothée Chalamet as a pair of young cannibals in a 1980s-set road movie that's more tenderly lyrical than most conventional romances.
“What are we eating? A Rolex?”
So quips Margot (Anya Taylor-Joy) in Mark Mylod's “The Menu” as she waits with her date, Tyler (Nicholas Hoult), a devoted foodie who has landed them a reservation at the exclusive restaurant Hawthorne.
An early 20th century weekly comic strip created by Winsor McCay about Little Nemo’s dream world and adventures provides the very loose inspiration for Netflix’s latest big budget spectacle, “Slumberland.”
The devil works in public relations in “ Spirited,” a new spin on “A Christmas Carol” starring Will Ferrell and Ryan Reynolds. With songs by “The Greatest Showman” duo Benj Pasek and Justin Paul, big ensemble dance numbers choreographed by Chloe Arnold and special effects galore, “Spirited” it is a maximalist affair that spares no expense in its heart-on-sleeve efforts to entertain.
A movie by one of Hollywood's most successful directors that's based on his early life begins, appropriately enough, at a movie theater and ends in a movie back lot.
“The Fabelmans” is clearly a very personal film for Steven Spielberg and it's as much a coming-of-age journey as a form of expensive therapy with John Williams offering lovely mood music.
Made in the wake of tragedy, “Black Panther: Wakanda Forever” reverberates with the agony of loss, piercing the usually less consequential superhero realm.
Next time you arrive home with aching, blistered feet after a long day, take heart: It’s not your feet that are the problem. It’s your shoes.
And that comes from the master, the late Salvatore Ferragamo, who pronounces in director Luca Guadagnino’s loving documentary “Salvatore: Shoemaker of Dreams” that in his entire career, “I have found there are no bad feet.
It is 1862 in a remote Irish village when an English nurse is called in by a local council to observe and investigate a phenomenon in the haunting new film “ The Wonder." There is, she’s told, an 11-year-old girl who has not eaten food in four months and seems to still be healthy.
In the swaggering, maximalist cinema of Alejandro Iñárritu, Iñárritu has, himself, never been all that far off the screen.
Since his blistering debut in “Amores Perros” to his seamless, surrealistic “Birdman or (The Unexpected Virtue of Ignorance),” Iñárritu’s showman-like presence has been easy to feel prodding and propelling the picture along in a ravenous hunt for transcendent images and spiritual epiphany.
A pickup truck breaking down on the street turns into a blessing of sorts in “Causeway,” a new, gentle Apple TV+ drama starring Jennifer Lawrence.
After touching the stars with Brad Pitt, filmmaker James Gray has come back to earth to explore his own childhood in “ Armageddon Time. ” Set in the fall of 1980, in Queens, it is a patient and mature work about a very specific time and place when he was anything but — age 11 and starting sixth grade.
In Phyllis Nagy's “Call Jane,” Joy (Elizabeth Banks) is a 1960s housewife married to a defense attorney (Chris Messina) with a teenage daughter (Grace Edwards) and a baby on the way.