Movies

Brendan Fraser Is Incredible in “The Whale,” But the Rest of the Film Is Another Story

The actor's performance deserves all the hype it's getting, but ultimately the rest of Darren Aronofsky's film isn't worthy of it

Movies

Steven Spielberg Turns the Camera on Himself With the Stunning “The Fabelmans”

The director's semi-autobiographical tale is a reminder that he's everywhere in his films even when we can’t see him

Movies

“Knives Out” Sequel “Glass Onion” Ups the Spectacle and Social Commentary

Director Rian Johnson looks to outdo himself, with mixed results

Movies

“Women Talking” Offers a Complicated “Me Too”-Inspired Conversation

Sarah Polley's discourse-heavy film is equal parts tone-deaf and inspiring

Movies

“How to Blow Up a Pipeline” Pairs Environmental Activism With Heist-Movie Thrills

We caught up with director Daniel Goldhaber ahead of his film's premiere at the Toronto International Film Festival

Movies

Why Is It So Hard to Accurately Represent Gen Z on Film?

"Bodies Bodies Bodies" is the latest movie so eager to crack the pathology of the youths that it loses the texture of actual teenage behavior

Movies

Lena Dunham’s “Sharp Stick” Is Sneakily Traditionalist — Just Like the Rest of Her Work

For a filmmaker known for her transgression, Dunham has a weird underlying conservatism

Movies

“The Black Phone” and the 5 Simple Rules for Locked-Door Horror

If we can figure a way out before the characters do, the movie falls apart

Movies

“Mad God” Maps a Bustling Stop-Motion Hellscape

Phil Tippett's stunning new film is 30 years in the making

Movies

On “Men” and the Heavy-Handedness of Highbrow Horror

Director Alex Garland's latest is too preoccupied with its obvious subtext to deliver any genuine scares

Movies

Ben Affleck and Ana de Armas Revitalize the Erotic Thriller With “Deep Water”

The former couple bring the right amount of exhibitionism to the long-dormant genre

Movies

The Complicated Legacy of “Shortbus,” The Sex-Club Cult Film With a Heart of Gold

Director John Cameron Mitchell reflects on a provocative, endearing movie that was both ahead of and behind its time