David Sims

Jane Schoenbrun, the director of the unsettling new film I Saw the TV Glow, has some ideas.

Challengers has plenty of moody intrigue, and it doesn’t skimp on the sports, either.

Alice Rohrwacher’s La Chimera deftly balances weariness and wonder.

What would it take for California and Texas to unite against the White House? Nothing good, according to Alex Garland.

The new Ghostbusters movie is fine—totally, completely fine. Why is the franchise treated so seriously?

The horror movie Immaculate demonstrates just why the actor is becoming so unavoidable.

Alex Garland’s new film imagines a United States torn asunder, and denies any easy explanations about why.

Kristen Stewart’s new movie is a refreshingly untraditional love story that flirts with paranormal body horror.

Most of the expected favorites won, and nothing went tremendously wrong.

And also who should win.

Paul Giamatti’s performance in The Holdovers is just another high point in a long, memorable career.

Denis Villeneuve’s Dune: Part Two is a triumphant—and tragic—look at the cost of power.

Drive-Away Dolls is a zany comedy with an unapologetically sexy edge.

Madame Web doesn’t just scrape the bottom of the barrel—it finds new depths.

Jon Stewart’s return to the show he popularized isn’t a mere nostalgia ploy—it’s a sharp spin on an old formula.

A new Oscars category will recognize casting directors, who perform a mysterious but vital component of moviemaking.

Godzilla Minus One is a rare beast: a viscerally arresting monster flick with legitimate emotional stakes.

Time travel, Sasquatches, Kristen Stewart in a mullet—here are our favorite movies from this year’s Sundance Film Festival.

Matthew Vaughn’s Argylle borrows from a lot of very recent spy-thriller history.

The Barbie filmmaker isn’t the first to be snubbed for directing a crowd-pleaser.

Gen Z audiences are turning the film into a word-of-mouth hit weeks after its opening.

Many recent winners have lacked mainstream appeal—but this year, that changes.

“People are either down for what this movie is or they’re not.”

The Iron Claw, a new biopic about the tragic Von Erich brothers, is rich with feeling and never despairing.

The charming Wonka wisely understands that Roald Dahl characters don’t need much backstory.

The Gen Z zaniness of Please Don’t Destroy

The Boy and the Heron, which could be the Studio Ghibli co-founder’s final film, is more of a bold reinvention than a somber farewell.

A tumultuous year for Hollywood and a stellar year for cinema

The filmmaker Todd Haynes discusses the messy morality of his new movie’s characters.

Maestro is a wonderful look at the composer that dives headfirst into his brilliant work and complicated inner life.

Ridley Scott’s take on the French leader is a sample platter of big battles and bristling insecurities.

Fallen Leaves, which follows two people trying to survive the modern world, is one of the year’s best films.

Next Goal Wins is a dire, uncomfortable watch that misuses Taika Waititi’s breezy humor.

The writers and actors didn’t get everything they wanted, but they forced their bosses to blink.

Nicolas Cage’s new movie has some fun with the collective unconscious, but it struggles to follow through on its delightful concept.

Annette Bening’s portrayal of a legendary swimmer in Nyad ultimately succumbs to narrative cliché.

Alexander Payne’s The Holdovers is a pitch-perfect dramedy from a master of the form.

David Fincher’s The Killer is a darkly funny look at a cold-blooded murderer’s tedious daily routine.

Martin Scorsese’s adaptation of David Grann’s best-selling Killers of the Flower Moon explores the rot beneath the myth of American exceptionalism.

Her record-breaking concert film brought viewers to the theater in droves during a tricky season for cinema.