Jason Reitman’s movie is an ode to Lorne Michaels, afraid to take even small risks.

“The Day the Clown Cried” has a reputation for being the worst movie ever shot. When I saw it, I was surprised at what I found.

“Trap” is an escape-from-the-room thriller as well as a touching exploration of a father-daughter bond.

Nostalgia is Kevin Costner’s specialty, from hits like “Field of Dreams” to revanchist epics like “Horizon.”

Annie Baker’s first film gives her characters plentiful epiphanies and an unwillingness to change.

Dan Snyder is preventing distribution of a Donald Trump biopic, which does not portray the former president in a flattering light.

The neo-noir starring Glen Powell is a departure for Richard Linklater.

Luca Guadagnino’s film starring Zendaya specializes in violent and gorgeous emotional devastation.

Alex Garland’s film is a fascinatingly empty meditation on journalism and our political divides.

Dan Reed’s documentary “The Truth vs. Alex Jones” on HBO shows a man obsessed with selling branded health and virility treatments.

Denis Villeneuve’s sequel captures the bleakness and the tragedy at the heart of Frank Herbert’s novel

Tran Anh Hung’s gourmet-themed drama celebrates the superficial and the sublime.

The filming of Edward Albee’s play with Elizabeth Taylor and Richard Burton was a feat of creative struggle.

Jonathan Glazer deliberately avoids the most familiar horrors of the Holocaust to show a further layer of inhumanity.

Here is The New Republic’s guide to the contenders for the 96th Academy Awards in 2024

Yorgos Lanthimos’s film, starring Emma Stone, is his least brutal, least original work to date.

Bradley Cooper’s biopic never really captures Leonard Bernstein’s passion for music.

It’s a portrayal so undignified that I almost expected ABBA’s “Waterloo” to play over the credits.

Kristoffer Borgli’s surreal comedy probes the benefits and horrors of instant fame.

“The Holdovers” is a brilliant study of an all-boys school and the troubled men it produces.