Netflix gave Martin Scorsese $160 million to make what is perhaps the perfect gangster movie.
This rom-com has lots of George Michael songs, including the title tune, so don’t say you weren’t warned.
Ewan McGregor leads a committed cast as that REDRUM kid all grown up, but the film is overlong and under-scary.
In the master filmmaker’s latest, Antonio Banderas stars as an aging movie director suffering from writer’s block.
Believe it or not, the film needs more of its very weird idea: Hitler as an imaginary friend to a 10-year-old boy.
The producer was more involved in this sequel, and it shows — it’s tight, well-staged and doesn’t wear out its welcome.
This Korean film that won top honors at Cannes is another triumph for the director of “Snowpiercer.”
The movie tells the story of Thomas Edison’s 19th century fight with George Westinghouse over the power grid.
The film, about a rookie police officer on the run from rogue cops, tries too hard to make big statements about race in America.
Sure, there are some laughs, but the sequel’s mean-spiritedness eventually grows tiresome.
The star has his best role in many years as the Ed Wood of 1970s blaxploitation pictures.
Natalie Portman is superb as an astronaut who makes bad choices. Too bad the director does, too.
Cohn’s long gone, but this documentary confirms that his rancid influence is still being felt today.
The action scenes are solid, but director Ang Lee is mostly interested in playing with digital toys.
It strives to be a serious statement about modern times, but director Todd Phillips isn’t up to that job.
This indie, about a beautiful woman making a film with sideshow performers, recalls the 1932 classic “Freaks.”
British filmmaker Chris Morris’ latest doesn’t measure up to “Four Lions,” his bracing send-up of jihadists.
Renee Zellweger does her darndest as Judy Garland, but she and the movie aren’t up to the task.
All the elements of the TV series remain in place — including shameless nostalgia for imaginary times gone by.
This otherwise thoughtful film doesn’t care about being grounded in plausibility, and that’s a problem.