‘Ad Astra’ Film Review: Brad Pitt Journeys to the Edge of Space and the Depths of His Character’s Soul
Pitt’s aloof astronaut sets out to find the father who paved his literal and emotional pathways
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‘La Llorona’ Film Review: Jayro Bustamante Examines Real-Life Historical Horror in Impressive Third Feature
Venice/Toronto Film Festivals 2019: The title may conjure up the supernatural, but this shrewd film contemplates the actual genocide perpetrated against Guatemala’s indigenous population
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‘Ema’ Film Review: Pablo Larraín’s Latest Dances to Its Own Rhythms
Venice 2019: The “Jackie” director boldly uses music video aesthetics in setting a character study to a reggaeton beat
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‘The Painted Bird’ Film Review: Jerzy Kosiński Adaptation Is Gruesome, Poetic Epic of Inhumanity
Venice 2019: Anchored by breathtaking visuals and a powerful child performance, Václav Marhoul’s three-hour film is a worthy endurance saga
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‘Mosul’ Film Review: Russo Brothers Produce an Action-Packed Tale of Fighting ISIS
Venice 2019: Screenwriter Matthew Michael Carnahan makes his directorial debut about local Iraqi heroes out for vengeance
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‘Babyteeth’ Film Review: Australian Doomed-Teen Dramedy Hides Its Tougher Questions Behind Frills and Filigree
Venice 2019: Director Shannon Murphy’s got style to burn, but an excess of it undercuts her characters and their dilemmas
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‘The King’ Film Review: Timothée Chalamet Fights for the Crown, On and Off the Battlefield
Venice 2019: David Michôd (“War Machine”) gives us a Henry V who plays fast and loose with both history and Shakespeare
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‘Wasp Network’ Film Review: Penélope Cruz and Edgar Ramírez Spy for Castro in Talky Thriller
Venice 2019: Olivier Assayas’ docudrama shortchanges the characters in favor of excessive exposition
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‘American Skin’ Film Review: Nate Parker’s Disappointing Sophomore Effort Mixes Mockumentary and Courtroom Drama
Venice 2019: Parker tackles the issue of police shootings, but the results are clunky and heavy-handed
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‘The Laundromat’ Film Review: Steven Soderbergh’s Panama Papers Tale Is a Messy Exposé
Venice 2019: Not even Meryl Streep, Antonio Banderas and a miscast Gary Oldman can elevate this would-be “Big Short”
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‘Giants Being Lonely’ Film Review: Teen Baseballers Come of Age in the Shadow of Their Parents’ Errors
Venice 2019: Grear Patterson’s striking debut plays like a Terrence Malick memory piece without the distance of nostalgia
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‘Seberg’ Film Review: Kristen Stewart Captures the Spirit of a Martyred Icon
Venice 2019: The film recounts the FBI’s targeting of the New Wave film star for her support of the Black Panthers
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‘An Officer and a Spy’ Review: Roman Polanski Is No Emile Zola in This Listless Retelling of the Dreyfus Affair
Venice 2019: Any controversy over the director’s choice of subject is dissipated by the tepid results
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‘Marriage Story’ Film Review: Scarlett Johansson and Adam Driver Break Apart in Noah Baumbach’s Devastating Drama
Venice 2019: The writer-director’s streak of humane, heartbreaking films continues with this powerful and poignant tale
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‘The Perfect Candidate’ Film Review: A Saudi Woman Finds Her Voice in Piercing Political Tale
Venice 2019: A run for local office empowers a young doctor in Haifaa Al Mansour’s feminist tale
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‘The Truth’ Film Review: Catherine Deneuve and Juliette Binoche Grapple With Honesty and Each Other
Venice 2019: Hirokazu Kore-eda’s first non-Japanese film captures a mother-daughter relationship fraught with resentments
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Venice 2019 Line-Up Reminds Us Gender Equality Has a Long Way to Go (Commentary)
Women go underrepresented in competition at a festival that found room for Roman Polanski and Nate Parker
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Nate Parker’s ‘American Skin’ Added to Venice Film Festival Slate
The L.A.-set drama is Parker’s first feature since 2016’s “The Birth of a Nation”
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Venice Festival Juror Jennifer Kent Disappointed by Lack of Female Directors in Competition This Year
“I hoped there would be more,” the Australian director of “The Nightingale” says
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Venice Film Festival Lineup Sparks Backlash: Only 2 Female Directors but New Roman Polanski Film
“1 rapist. 2 women directors in competition #Venezia76. What else am I missing?” Women and Hollywood’s Melissa Silverstein tweets
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Catherine Deneuve Drama ‘The Truth’ to Kick Off Venice Film Festival
Film is first that Japanese director Kore-eda Hirokazu has made outside his home country
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‘Non-Fiction’ Film Review: Olivier Assayas Comically Mourns the Death of Literature
Venice 2018: Juliette Binoche co-stars in this witty drama that does for print what “Summer Hours” did for art
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‘Roma’ Film Review: Alfonso Cuarón’s Intimate Epic Proves Less Is More
This intimate tale of a housekeeper in early-70s Mexico proves the “Gravity” director doesn’t need a sprawling canvas to tell a powerful story
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‘The Favourite’ Film Review: Emma Stone Plays an 18th Century Eve Harrington in a Twisted Historical Farce
Venice 2018: Olivia Colman’s needy, vulnerable Queen Anne steals the show in the latest from Yorgos Lanthimos (“The Killing of a Sacred Deer”)
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‘At Eternity’s Gate’ Film Review: Willem Dafoe Brushes With Brilliance in Van Gogh Biopic
Dafoe gives a towering performance in Julian Schnabel’s sensitive but unconventional film
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‘The Ballad of Buster Scruggs’ Film Review: Coen Brothers Western Anthology Makes for an Uneven Binge
This omnibus film is an entertaining fribble that peaks early
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‘The Other Side of the Wind’ Film Review: Orson Welles’ Final Film Is Worth the Wait
Lovingly assembled after 40 years, the master’s swan song is a winking satire drawing on his own love-hate relationship with Hollywood
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‘Suspiria’ Film Review: Luca Guadagnino’s Misguided Horror Remake Falls Flat
Despite Dakota Johnson and Tilda Swinton’s best efforts, this remake is crammed with too many aimless ideas and not enough scares
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‘A Star Is Born’ Film Review: Bradley Cooper and Lady Gaga Reinvigorate a Classic
Venice 2018: First-time director and first-time leading lady breathe new life into a Hollywood mainstay
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‘The Sisters Brothers’ Film Review: John C. Reilly and Joaquin Phoenix Saddle Up for an Extraordinary Western
Venice 2018: Jake Gyllenhaal and Riz Ahmed co-star in this funny, tragic, intimate epic from Jacques Audiard (“A Prophet”)
