Filmmaker Raoul Peck struggles to find tension in his look at the communist founder’s salad days.
Quietly, but emphatically, “Black Panther” portrays Africa as the cradle of human endeavor, from architecture and design to fashion and toolmaking.
This seems to be the fate of the genre now: It must relate and appeal to 21st century notions of class, race and gender.
The former president, the subject of two interviews and a new film within a month, emerges from seclusion and gives a peek at what’s to come.
The best movies of the year reflected the zeitgeist of America.
A few films this year show that beneath the mindless, crass commercialism of American moviemaking, a heart still beats.
Aki Kaurismäki delivers a minimalist portrait of an asylum-seeking refugee from Syria.
The latest film in the "Star Wars" universe is a crafty reimagining of the galactic multiverse, filled with strong characters and contemporary political themes.
For all its amateurishness, “The Room” is authentic, a heartfelt, if inarticulate, expression of a naive artist. “The Disaster Artist” is an artificial substitute.
Meryl Streep and Tom Hanks deliver smart, enjoyable entertainment in Steven Spielberg's Pentagon Papers potboiler.
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