As critics debate Adam McKay’s latest film, perhaps the better question is where movies about climate change should go from here.

Pedro Almodovar’s new movie with Penelope Cruz is his most explicitly political.

Paolo Sorrentino’s “The Hand of God” is a coming-of-age movie set during a legendary chapter in soccer history.

Paul Thomas Anderson’s latest movie makes the 1970s dreamy but lacks the edge of his earlier films.

Joanna Hogg’s film treat a young artist’s coming of age with disarming seriousness.

Netflix, Amazon Prime, Hulu, HBO Max.… With so much content, why does it feel like there’s nothing to watch?

In Pablo Larraín’s dreamlike movie, Diana is not the people’s princess but a woman in search of herself.

Mia Hansen-Løve’s beguiling new film about love, cinema, and Ingmar Bergman oscillates gently between fantasy and realism.

Set at an upscale midcentury magazine, the new movie is an ode to print and a slice of escapism.

Denis Villeneuve’s film makes the complex world of “Dune” comprehensible through stunning visuals.

The films have always presented a more slick, evasive Bond than the often mundane spy in Ian Fleming’s novels.

In the new film prequel to “The Sopranos,” fatally flawed fathers and deluded sons buckle under an enormous pressure to be men.

Playing Tadzio in Luchino Visconti’s film made Björn Andrésen a star at 15 years old. He spent the next 50 years struggling with the fallout.

In Clint Eastwood’s new film, an aging rodeo star lets go of his tough guy role.

TNR editor Michael Tomasky talks with the acclaimed filmmaker about his new project, airing Sunday on PBS.

Nia DaCosta’s reimagining of the cult classic explores the dangers of making art about pain.

Leos Carax’s movie is an idiosyncratic showcase for an unlikely, idiosyncratic star.

David Lowery’s movie, starring Dev Patel, cleverly unfolds the public consequences of private indiscretions.

“Enemies of the State” and “United States v. Reality Winner” explore profound questions of secrecy, whistleblowing, and justice.

The overwrought film from Michael Sarnoski contains a fundamental truth about a very sick industry.