The rewards for close attention to every scene and shot in "Moonlight" are the same as those for any patient reading of Henry James serpentine sentences.
"Hell or High Water" breathes new life into familiar materials, dealing out anachronistic juxtapositions while de-romanticizing the iconic figures of the western.
Comedies with superficial characters aren’t necessarily bad, but ‘Café Society’ stays predictable. ‘Florence Foster Jenkins,’ however, makes room for pathos.
With its command of reverberant silences, its conveyance of past horror and ongoing pain, 'The Innocents' does what all good movies do: it lingers with you.
Just in time to relieve the post-Oscar doldrums comes the reappearance of Orson Welles’s "Chimes at Midnight," the 1966 adaptation of Shakespeare’s Henry IV plays.
Writer-director László Nemes takes us into the Auschwitz death camp one day in late 1944. The camera immediately fastens on Saul Auslander and never lets go.
Very few historical films have achieved this degree of physical verisimilitude. The bad news? Verisimilitude may be 'The Revenant'’s only great achievement.
'Weiner' sets out to film Anthony Weiner’s unlikely political comeback, as he sought to put the disgrace behind him with a run for mayor of New York in 2013.
