Ken Loach has taken a despicable episode of modern Irish history and made a surprisingly lovely, heartfelt film from it with "Jimmy's Hall."
"Contempt" meets "Lassie" in Jean-Luc Godard's "Goodbye to Language," a characteristically vigorous, playful, mordant commentary on everything from the state of movies to the state of the world.
Cold in July Director: Jim Mickle Opens: May 23 (IFC) Why it matters: Mickle has proved himself a master of brutally efficient yet oddly lyrical low-budget genre movies. His latest, an '80s-set crime…
2016-2017 Oscar Predictions
- ‘Sully,’ ‘Patriots Day,’ ‘Deepwater Horizon’ Could Crack Film Editing Oscar Race
- Oscars: ‘Rogue One,’ ‘Suicide Squad,’ ‘Fantastic Beasts’ Advance in Visual Effects Race
- Warren Beatty Honored by Kirk Douglas, Don Cheadle at Santa Barbara Fete
- Playback: Ben Foster on ‘Hell or High Water’ and Being a ‘Builder’ as an Actor
As much as she stood out from the crowd as Edith Piaf, that's how much Marion Cotillard blends into the unfettered working-class environs of "Two Days, One Night."
John Boorman has gone back to the wellspring of personal experience that so richly informed his 1987 "Hope and Glory" for "Queen and Country."
Ned Benson's two-volume, three-hour-plus marital drama has shed its bifurcated structure and some 70 minutes from its running time, but what's been lost in girth and conceptual framework has arguably…
The promise of Australian director David Michod's 2010 debut feature "Animal Kingdom" is amply realized in "The Rover."
English painting's renowned master of light, Joseph Mallord William Turner, gets a suitably illuminating screen biography with Mike Leigh's "Mr. Turner."
The offscreen palace intrigue between director Olivier Dahan and distributor Harvey Weinstein turns out to be far livelier than anything on screen in Dahan's cornball Grace Kelly melodrama.
It is the voice — lilting, lightly French-accented — that one notices first, even before fully registering the famous face. You notice it because, in the movies, Marion Cotillard so rarely sounds…
Seated at his desk in a third-floor office at the Cannes Film Festival's Paris headquarters, Gilles Jacob exudes the calm, patrimonial authority of a lion in winter — or, as Jacob likes to describe…