Editor Michael Tomasky speaks with filmmaker Stephen Ujlaki and the Reverend William Barber II about “Bad Faith,” Ujlaki’s important new documentary on the right.

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

A new documentary explores Robert Putnam’s life and work.

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.

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

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

Past and present overlap eerily in Andrew Haigh’s new film, starring Paul Mescal.

Tom Wolfe was no radical.

Todd Haynes took the story of a tabloid scandal and made it something much stranger.

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

For years, LBJ was reviled for Vietnam. Then the historical tables turned in his direction. But they turned a little too far.

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.

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

Sofia Coppola’s Elvis is an insecure jock, a rudderless pretty boy with more charisma than talent.