Celebrating the best of 2016 in film.
If you're looking for a place to start catching up on some 2016 greatness, I hope this'll do.
Jackie keeps repeating its intriguing ideas about turning people into icons.
It's difficult to imagine a film announcing more spectacularly and efficiently what it's about, before a single word is ever spoken: a disconnect between surface spectacle, and something much darker just beneath that surface.
La La Land celebrates magical, inspirational art.
You either accept that a first flutter of infatuation can cause people to burst into song.
One size of loss does not fit all in Manchester by the Sea.
In all those works, he has poked around not just at how people respond to tragedy, but at how someone else might respond to that same tragedy in a completely different way, or even not take that individual grieving process seriously.
Simple, non-heroic love changes the world in Loving.
On a certain level, though, Loving is about people who find that they have no choice but to insert their lives into something bigger, even when it might seem simpler and easier not to fight.
The Edge of Seventeen overburdens its heroine with too many issues.
But too often it feels like it's trying to be every kind of high-school movie at the same time.
Moonlight beautifully examines the intersection of sexuality and masculinity.
Living with a crack-addicted single mother (Naomie Harris), Chiron faces a struggle with basic survival.
A real-life war story is uncomfortably split in Hacksaw Ridge.
And are there ways to tell those stories that don't feel like something we've already seen in a much better version?
At least Inferno brings some goofiness to its absurd plot.
Well, Langdon wakes up in Florence hospital with amnesia in his brain and a high-tech medical vial in his pocket.
Our picks for the "awards season" movies most worth getting excited about.
Here are some of the titles we're most jazzed to see heading toward the end of 2016.
American Honey offers a terrific slice of life, whenever it's not trying too hard.
You need to think long and hard before you start your film title with "American."
The story behind the story inevitably changes how you see The Birth of a Nation.
What had been the tale of self-financed passion project about incendiary real-life events became more about the events of Parker's own life
Deepwater Horizon feels trapped between tragic facts and genre conventions.
And like melodrama of all kinds, they're about emotions writ large—love and hate, life and death—with little space for nuance or subtlety.
The Magnificent Seven returns to much-needed territory of Western heroism.
The Magnificent Seven isn't even remaking something that was original itself, since John Sturges' 1960 film was an American re-telling of Akira Kurosawa's 1954 Seven Samurai.
Bridget Jones's Baby feels almost proudly stuck in another era.
The joke is on movies employing obvious indicators that wacky things are afoot, but it's an idea that seems more like urban legend than reality.