The election denial propaganda film was praised by the likes of Donald Trump and Marjorie Taylor Greene—and utterly tanked at the box office.

Stephanie LaCava’s novel and David Cronenberg’s film “Crimes of the Future” each imagine a world without pain.

In a new film about the Harvey Weinstein exposé, the protagonists argue that the problem is the system, not one man in particular. The movie itself ignores the lesson.

“Andor” is a show about the moral choices adults are forced to make in a world of adult consequences.

“Our America” presents a mournful, terrible, exhilarating, and honest tour of the United States.

In Ruben Östlund’s satire, the amusements of the moneyed elite belie a foundation of violence, cowardice, and shame.

In Amazon’s take on The Lord of the Rings, the hero is a fanatic, ceaselessly seeking out potential threats.

The internet demands that women project desirability—at a level formerly reserved for movie stars.

In his new thriller, race, ambition, and legacy intersect to force a family to lean into danger.

A new Jane Austen adaptation dares to ask: What if “Persuasion” took place not just in the early nineteenth century but at wine o’clock?

A conversation with Dana Stevens, the author of “Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century”

Starring Vincent Gallo and Rainey Qualley, “Shut In” is a new front in The Daily Wire’s war against liberal culture.

The “Succession” actor’s autobiography is pleasingly horrible.

How silent cinema’s slapstick genius choreographed the age of viral video

A conversation with Adam Nayman about the filmmaker’s style and obsessions

Denzel Washington and Frances McDormand star as grown-up versions of the Macbeths, with dangerous ambitions and onerous responsibilities.

Two new movies address the impossible, ordinary, maddening task of keeping both yourself and a child alive.

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.