Michael Moore tours the social democracies of Europe, assembling a piecemeal progressive utopia and contrasting it with the bleakness on our side of the Atlantic.
Very few historical films have achieved this degree of physical verisimilitude. The bad news? Verisimilitude may be 'The Revenant'’s only great achievement.
The title of Paolo Sorrentino's latest doesn’t refer to a fixed stage in life but to the mysterious inner spark—as much spiritual as biological—that keeps us going.
All six movies I watched between Christmas and New Year’s Day were about looking back: to historical eras; to the protagonists’ pasts; or, for us, to our own pasts.
Readers weight in on the debate started by Albert B. Hakim on universal salvation and damnation for the unjust, and fact-check our review of 'Spotlight.'
