In one of his final performances, Philip Seymour Hoffman steps into the icy world of international espionage in a John Le Carré adaptation directed by Anton Corbijn.

Veterans of My Dinner With Andre and Vanya On 42nd Street, Wallace Shawn and Andre Gregory reunite for an intimate interpretation of one of Henrik Ibsen’s most powerful plays, with help from Jonathan Demme.

Screenwriter Naomi Foner (Bee Season) makes a late directorial debut with a generic coming-of-age movie about two virginal friends (Dakota Fanning and Elizabeth Olsen) pursuing the same generic hunk.

Park Chan-wook kicked off his Vengeance trilogy with a morally murky, blood-soaked tale of love and reprisal.

Controversial radio humorist Henry Morgan made his debut and his swan song in this fizzy adaptation of Ring Lardner’s The Big Town, which follows the big-city adventures of money-hungry Midwesterners.

Screenwriter Naomi Foner (Bee Season) makes a late directorial debut with a generic coming-of-age movie about two virginal friends (Dakota Fanning and Elizabeth Olsen) pursuing the same generic hunk.

Veterans of My Dinner With Andre and Vanya On 42nd Street, Wallace Shawn and Andre Gregory reunite for an intimate interpretation of one of Henrik Ibsen’s most powerful plays, with help from Jonathan Demme.

In one of his final performances, Philip Seymour Hoffman steps into the icy world of international espionage in a John Le Carré adaptation directed by Anton Corbijn.

Shenanigans ensue when a married couple with a flagging sex life accidentally uploads their sex tape to the Internet. Can a talented cast (Cameron Diaz, Jason Segel), a gifted director (Jake Kasdan) and skilled writers (Kate Angelo, Segel, Nicholas Stoller) breathe life into a less-than-arousing premise?

The quickie sequel to the low-cost horror hit offers another night of legally sanctioned crime in America, and does it more effectively than the last. But don’t be fooled: It’s still tremendously stupid.

Screenwriter Naomi Foner (Bee Season) makes a late directorial debut with a generic coming-of-age movie about two virginal friends (Dakota Fanning and Elizabeth Olsen) pursuing the same generic hunk.

The stigma surrounding Bronies—overwhelmingly male, overwhelmingly heterosexual adult fans of the animated show My Little Pony: Friendship Is Magic—gets debunked in this documentary about their equine passion.

Ari Folman’s half-animated follow-up to Waltz With Bashir combines science fiction and satire in telling the story of an aging actress (Robin Wright) who sells Hollywood the rights to her digital likeness. 

Based on the Nick Hornby novel, Pascal Chaumeil’s comedy-drama stars Toni Collette, Pierce Brosnan, Imogen Poots, and Aaron Paul as sad characters who form an impromptu support group after trying to commit suicide off the same tower block. 

The damnably prolific Joe Swanberg gathers Anna Kendrick, Melanie Lynskey, Mark Webber, and Lena Dunham for a winning Yuletide hangout movie that’s a big leap forward from his previous work.

In adapting stories by Agatha Christie and Sir Arthur Conan Doyle, director Billy Wilder married the slanginess and gusto of Hollywood films with the sophistication of his European roots.

Controversial radio humorist Henry Morgan made his debut and his swan song in this fizzy adaptation of Ring Lardner’s The Big Town, which follows the big-city adventures of money-hungry Midwesterners.

Park Chan-wook kicked off his Vengeance trilogy with a morally murky, blood-soaked tale of love and reprisal.

David Cronenberg’s breakthrough sold gorehounds on exploding heads, but his story about a confrontation between telepaths packs the brainy, metaphorical punch that defined his career going forward.

One of the weirdest horror movies of the 1970s, Ted Post’s cult favorite centers on a grown man who can’t walk, wears a diaper, and stays in his playpen all day. It gets stranger and more psychologically twisted from there. 

James Cameron put a lot of thought into constructing the beginning of Terminator 2 as one long fake-out. The film’s marketing campaign undid that work, but didn’t spoil the way the film carefully balances other elements.

Radiohead has a long history of being used, and misused, in movies, from the appearance of “Creep” in S.F.W. to the new I Origins. The band’s history on film soundtracks offers a study in how a song can enhance a scene, or overwhelm it.

Dawn Of The Planet Of The Apes and Snowpiercer are the latest in a string of 2014 films that prove smart ideas need great filmmaking to carry them across.

The director of The French Connection and The Exorcist has a filmography filled with films at their best when throwing viewers into the messy middle of the action.

From Blood Simple to Inside Llewyn Davis, the Coens have offered an often funny, but always bleak, view of how the world works.

An exhaustive look at Bill Murray’s career traces his journey from comedy star to respected actor—and finds his two talents have long been intertwined.

Back in January, we discussed the new releases we were most looking forward to seeing in theaters this year. But since most of those promising films have already come and gone, we went back to the coming-soon lists to consider what the rest of the year holds.

Melissa McCarthy’s Tammy has taken major flak from critics, but they’re overlooking how its daring use of women continues to push the growing idea that comedy benefits from a broader range of voices and perspectives.

The brainy, brawny science fiction action movie Edge Of Tomorrow got us talking about why it works so well, from the central gimmick to a committed Tom Cruise.

After a lifetime of playing good guys, Ronald Reagan ended his acting career with a villainous turn in Don Siegel’s The Killers. Was the performance revelatory, or an aberration?

Warren Beatty’s 1998 film Bulworth attempted to give a charge to Clinton-era liberal frustration by pairing it with a frankness inspired by hip-hop. The result was stranger than expected, but also truer to Beatty’s past than it seemed.

Paul Thomas Anderson’s canny casting of the 1970s icon in a film set during his heyday gave Reynolds the best reviews of his career. But it ended up being an outlier in a filmography dominated by popcorn and junk.

A 1991 Top Gun parody directed by one third of the team behind Airplane!, Hot Shots! leans hard on easy references, just like the sorry work of parody’s modern heirs

When Sylvester Stallone and Kurt Russell teamed up for a 1989 buddy-cop movie, the troubled production yielded a strange sort of magic.

Blake Edwards’  surprisingly perceptive, sad 10 briefly popularized Bo Derek (and cornrows on white women), but don’t hold that against it.

An alternate poster for Her uses a blurred image to see the film more clearly.

Cristian Mungiu’s Beyond The Hills gets a poster inspired by rolling landscapes, a Belgian illustrator, and ambiguity.

Graphic designer Sam Smith creates a new image for his favorite film of 2013 and lists this year’s 10 best movie posters.

Some of the most arresting takes on science fiction in the late 1960s and early 1970s came from people who were just briefly visiting the genre, including such disparate figures as Alain Resnais and Sun Ra.

Day Of The Dolphin, A Boy And His Dog, and Phase IV turned to the relationship between man and super-intelligent animals to comment on politics, men and women, and civilization at large. 

What does it mean when machines and humans look the same? A handful of films in the 1960 and 1970s offered strikingly different takes on the notion.

James Cameron put a lot of thought into constructing the beginning of Terminator 2 as one long fake-out. The film’s marketing campaign undid that work, but didn’t spoil the way the film carefully balances other elements.

Tom Cruise’s post-Top Gun films featured the actor repeating himself—and the film’s plot—as he came into his own.

A discussion of 1986’s biggest movie explores the film’s vision of military life, its confusing sexuality, and its long, lasting legacy.

The 2008 Best Supporting Actor race included Heath Ledger’s performance as The Joker. He took the award posthumously, but unlike with some posthumous awards, his disturbing performance seems like one that likely would have won anyway.

Faye Dunaway fast-talked her way into an Oscar in a year that also featured edgy work from other quarters—including two actors portraying put-upon teens.

 In 1986, Paul Newman won an Oscar that felt like an award for a lifetime of great work. In the process, he overshadowed a remarkable Bob Hoskins performance.

The Sham-Wow Guy’s inAPPropriate Comedy is like Movie 43, minus the class and laughs. Also, it’s crazy racist. 

In this late-career feature, Seagal tries to find his son’s murderer, matches wits with Eddie Griffin, engages in an epic curse-off, and kills a lot of black people.

Before he was a superhero and super-agent, the man who would be Hawkeye made a winning little movie about the invention of the Homer Simpson talking bottle opener.

This week, we look back at the Planet Of The Apes franchise—from the 1970s to the present and all points in between—wonder why sex comedies for and about adults are such a rare species, and test our retro-trailer knowledge.

This week’s podcast considers the state of the spoof, the art of withholding information from viewers, and the consensus-shattering reviews of Roger Ebert. 

Can you spot the common theme linking this week’s segments on stage-to-screen musicals and hyperlink movies?

This week, we examine the respective draws and pitfalls of “feel-bad” cinema and the modern theater experience, and cry our way through a tear-jerking game.

This week, we look back at the Planet Of The Apes franchise—from the 1970s to the present and all points in between—wonder why sex comedies for and about adults are such a rare species, and test our retro-trailer knowledge.

This week’s podcast considers the state of the spoof, the art of withholding information from viewers, and the consensus-shattering reviews of Roger Ebert. 

Can you spot the common theme linking this week’s segments on stage-to-screen musicals and hyperlink movies?

This week, we examine the respective draws and pitfalls of “feel-bad” cinema and the modern theater experience, and cry our way through a tear-jerking game.