Annie Baker’s first film gives her characters plentiful epiphanies and an unwillingness to change.

The neo-noir starring Glen Powell is a departure for Richard Linklater.

Luca Guadagnino’s film starring Zendaya specializes in violent and gorgeous emotional devastation.

Here is The New Republic’s guide to the contenders for the 96th Academy Awards in 2024

The climate crisis arrives suddenly and overwhelmingly in Christian Petzold’s seaside drama.

Greta Gerwig’s movie attempts to combine the magic of Barbie Land with a critique of the patriarchy.

David Zaslav, whose Chris Licht hire butchered CNN, is vandalizing TCM, a beloved cultural institution.

The critics have weighed in. Now it’s your turn.

Director Davy Chou’s second movie is an adoption story for an age of ambivalence.

Films from Charlotte Wells and Lukas Dhont aim for intimate, almost imperceptible moments of connection rather than a grand affirmation.

Is “Infinity Pool” too Cronenbergian?

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.

“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.