Adam Nayman

Joachim Trier’s skillful, literate movies tick a lot of boxes.

The Netflix movie, starring Jacob Elordi and Oscar Isaac, is lavish and meticulous—and strangely hollow.

Director Luca Guadagnino has turned transgression into its own sort of comfort zone.

It Was Just An Accident reckons with cruelty and repression.

The new sequel declines to stick it to a music industry beholden to algorithms and fanatical stans.

Witty energy and zingy one-liners can’t quite keep Ethan Coen’s neo-noir caper together.

Kiyoshi Kurosawa’s latest is a masterful, satirical horror tale of a shameless online scammer and the vengeance wreaked by ever-growing numbers of his unhappy customers.

It’s also a rollicking not-quite thriller about family, financing, and (broadly) filmmaking itself.

The filmmaker’s tale of modern China probes the emotional toll of living through two decades of social upheaval.

In his new film, Shrouds, paranoia seeps into the afterlife.

In an evening light on politics and controversy (mostly), host Conan O’Brien turned the show into a boosterism event for the film industry.

The biopic starring Timothée Chalamet is a star-is-born fable viewed with 20/20 hindsight and through rose-tinted glasses.

“The Room Next Door” is not quite willing to confront its subject in all its difficulty.

“Rumours” imagines a version of the G7 where world leaders descend into absurdity.

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

“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.”

Catherine Breillat’s provocative new film is like a watercolor dabbed with cyanide.

In Ryusuke Hamaguchi’s new movie, an isolated community faces an existential threat and the fragility of its own defense mechanisms.

The night saw a jarring dissonance between political statement and glitzy showmanship.