An interview with Ben Fritz, whose “The Big Picture” explores the way the franchise model and streaming services have disrupted the film industry.

Why is Armando Iannucci’s new film effectively banned in Russia?

The earnest, ironic stylings of Wes Anderson’s “Isle of Dogs”

The reboot of the "Tomb Raider" franchise sheds the original movie's camp, but its main character is more recognizably human.

The super-cheap theater subscription service has two million customers and counting, but it's unclear where it goes from here.

They're biased toward naturalism in movies, rather than bizarro versions of the real world.

Ava DuVernay's adaptation of the children's classic dazzles, but feels a little empty.

On espionage, Russian stereotypes, and the impermeable coiffures of “Red Sparrow”

Raoul Peck's new biopic of Marx and Engels in their salad days is a tedious shambles.

Natalie Portman journeys into an strange substance known as the Shimmer—and stumbles on a new understanding of the human heart.

FX’s “The Assassination of Gianni Versace” examines a lethal delusion.

Clint Eastwood’s latest stars a trio of Americans who foiled an attack on a train—playing themselves.

The superhero movie matches stunning special effects with vital political ideas.

Alex Ross Perry’s moody portrait of stifled creativity and tense relationships

The new movie builds on the myth that when Sarah Winchester built her Mystery House, she was overwhelmed by grief.

The original movie, as well as its elaborate marketing campaign, were steeped in mystery. What happened?

A conversation on A. O. Scott's "reassessment" of the filmmaker

In his final film, the Iranian director reached the apex of a career devoted to tender contemplation.

Following Obama and his team, “The Final Year” pays homage to a measured approach to foreign policy.

The acquisition of Fox will bring Marvel Comics movies under one roof, further stifling diversity and creativity in Hollywood films.