In Alejandro G. Iñárritu’s conceptually elaborate apocalyptic farce, hectoring satire and visual sublimity fight to a draw.

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The follow-up to 2024's 'Last Air In Moscow' proves every bit as compelling, if more intimate

In Kiyoshi Kurosawa’s historical drama, “The Samurai and the Prisoner,” a series of puzzling crimes at a besieged fortress yields even more confounding questions about faith, war, and leadership.

Some politicians said Mayor Zohran Mamdani’s criticism of Israel had created a dangerous environment. He pushed back, condemning the stabbings of two men on the Upper West Side and defending his state...

In a starry, stirring adaptation of Homer’s epic, the director’s signature realism grounds, without dispelling, the drama’s emotional and mythological power.

In rich, melancholy new films from the directors Carla Simón and Mark Jenkin, the restorative power of cinema turns out to be a shore thing.

In Olivia Wilde’s bickersome couples comedy, an evening of refreshments and recriminations leads to an intriguing proposition.

From 1993: The magician’s deft illusions flout reality, and he rejects the notion that magic is a suitable entertainment for children.

In the latest chapter of “Toy Story,” Jessie, Woody, and Buzz Lightyear confront a looming threat—screen time—that’s changing the play habits of children everywhere.

His new alien thriller has shades of “Close Encounters of the Third Kind,” “Minority Report,” even “The Post”—but the retreads yield diminishing returns.

“Backrooms” and “Obsession,” both directed by precocious YouTube-trained talents, breathe shivery cinematic life into urban legends and cautionary tales.

There were 22 films in competition for this year’s Palme d’Or. Here’s how they stack up.

Matters of adolescent identity and child welfare loom compellingly large in new festival-premièred films from Marine Atlan, Jordan Firstman, and Cristian Mungiu.

At the 79th edition of the Cannes Film Festival, directors and jurors consider the role of politics—and A.I.— in cinema, with Hollywood conspicuously absent.

In Ildikó Enyedi’s meditative nature epic, “Silent Friend,” three lonely experimenters from three different eras seek to unlock the secrets of plants—and learn something vital about themselves.

In her first documentary feature, “Our Land,” Lucrecia Martel deepens her commitment to Indigenous, anti-colonial stories that harness the elusiveness of film itself.

“ ‘The Devil Wears Prada’ was a fairy tale with many frogs and nary a single viable Prince Charming,” Justin Chang writes. The sequel grants its protagonists some romantic redemption.

In Genki Kawamura’s infinity-loop thriller, “Exit 8,” a labyrinthine metro station becomes a metaphor for a life lived in extreme tunnel vision.

Guy Lodge, a longtime contributor to Variety, has been hired as chief film critic.

In “The Drama,” a woman reveals a deep, dark secret before her wedding day—but it simply doesn’t ring true, Justin Chang writes.

In “Kontinental ’25,” Radu Jude’s blistering contemporary riff on Roberto Rossellini, a tragic death sends a bailiff spiralling into a futile campaign of self-flagellation.

Two new historical dramas, “Two Prosecutors” and “Palestine ’36,” are built around courageous acts of opposition and unfold at a politically and existentially precarious moment in the 1930s.

Two new historical dramas, “Two Prosecutors” and “Palestine ’36,” are built around courageous acts of opposition and unfold at a politically and existentially precarious moment in the 1930s.

In Phil Lord and Christopher Miller’s adaptation of Andy Weir’s novel, Ryan Gosling’s star power fuels an unlikely tale of far-flung friendship.

At the Academy Awards, The New Yorker’s correspondent saw a win-win night for the studio behind “Sinners” and “One Battle After Another”—and a lose-lose situation for the industry.

With few exceptions, a ceremony that honored two of the most politically ferocious Hollywood action-thrillers in recent memory engaged only fitfully with politics.