‘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”)
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Alfonso Cuaron’s ‘Roma’ Wins Golden Lion at Venice Film Festival
The film is releasing on Netflix
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‘The Ghost of Peter Sellers’ Film Review: A Troubled, Barely-Seen Comedy and Its Erratic Star
Venice 2018: Peter Medak I”The Ruling Class”) seems to have made this doc to let himself off the hook for past failure
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Venice Film Festival Signs Pledge to Address Gender Disparity
La Biennale follows the Cannes, Locarno and Sarajevo film festivals in signing pledge
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Sony Pictures Classics Acquires Florian Henckel von Donnersmarck’s ‘Never Look Away’ Ahead of Venice
SPC also released German filmmaker’s Oscar-winning debut, “The Lives of Others”
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‘First Reformed’ Film Review: Paul Schrader and Ethan Hawke Channel Robert Bresson
Hawke’s tormented cleric is part Bresson’s anti-hero, part Travis Bickle
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‘Lean on Pete’ Review: Andrew Haigh’s Boy-and-His-Horse Tale Hits Hard
European director’s U.S. debut embraces both spacious skies and American miserabilism
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‘Downsizing’ Review: Matt Damon Is the Incredible Shrinking Everyman
Venice 2017: Alexander Payne’s sci-fi comedy examines the human condition in both the macro and the micro
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‘The Shape of Water’ Film Review: Guillermo del Toro’s Glorious Romance Blends Horror and Delight
Sally Hawkins and Doug Jones are swoon-worthy as a star-crossed, human-amphibian couple
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‘Three Billboards Outside Ebbing, Missouri’ Movie Review: Frances McDormand Is Bloody Funny
McDormand is a force of nature in Martin McDonagh’s black comedy set in small-town America
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‘Suburbicon’ Review: George Clooney Overplays His Hand With Grotesque ’50s Noir
Venice Film Festival: The mid-century design succeeds where the satire and thriller elements fail
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‘Victoria & Abdul’ Review: Judi Dench’s Queen Victoria Keeps This Smarm-ada Afloat
Stephen Frears traffics in cutesy colonialism but the film offers up all the colors in Dame Judi’s paintbox
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Guillermo del Toro’s ‘The Shape of Water’ Wins Golden Lion at Venice Film Festival
Samuel Maoz’ “Foxtrot” takes home Grand Jury Prize
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‘Our Souls at Night’ Review: Jane Fonda and Robert Redford Play Nice People in a Nice Romance
Venice: This Netflix drama plays it safe, but the leading players have as much chemistry as ever
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‘The Devil and Father Amorth’ Review: William Friedkin Tackles Satan Again, This Time Awkwardly
Venice: The “real-life exorcism” in this hand-held doc plays as phony and/or exploitative
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‘Planetarium’ Review: Natalie Portman Goes Bilingual in Lush, Forgettable Drama
Rebecca Zlotowski’s sensual tale of Portman and Lily-Rose Depp as séance-performing sisters in pre-war France never coheres into something emotional or thought-provoking
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‘Frantz’ Review: François Ozon’s Post-War Tragedy Lacks Subtlety
The auteur’s examination of the perils of nationalism delivers most of its points with far too heavy a hand
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‘La La Land’ Review: Ryan Gosling and Emma Stone Trip the Light Fantastic
In his follow-up to “Whiplash,” writer-director Damien Chazelle serves up a recognizable Los Angeles that’s also a singing, dancing land of dreams
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‘Nocturnal Animals’ Review: Tom Ford Gambles Big and Wins on Second Feature
Amy Adams and Jake Gyllenhaal star in a film that successfully melds grit and glamour, the past and present, fiction and reality
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‘Arrival’ Review: Amy Adams Talks to Aliens in Cerebral Sci-Fi Story
Denis Villeneuve’s tale of humanity’s first contact with ETs wants to appeal to both the heart and the head, but it succeeds mostly above the shoulders
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‘Hacksaw Ridge’ Review: Mel Gibson Says War Is Hell — Except When It’s Awesome
The “Passion of the Christ” director extols pacifism with one hand while making war brutally exciting with the other
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‘The Young Pope’ Venice Review: Jude Law Does the Vatican Rag
The first two chapters of the Paolo Sorrentino miniseries seem uncomfortably perched between satire and nighttime soap
