Musk and Primetime Ask Who Benefits From the Spectacle
Alex Gibney’s documentary and Lance Oppenheim’s television nightmare examine different forms of public authority—and the attention that helps keep them working.
Rankings, essays, interviews, and stories about how movies are made, seen, and remembered.

The performances that make fear belong to a person: from Keke Palmer’s exhilarating Emerald to Toni Collette’s devastating Annie Graham.
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Before Cliff Booth enters his world, we rank Fincher’s twelve released features—a career in which the pursuit of control keeps exposing how little anyone possesses.

Mungiu’s family investigation and Los Javis’ extravagant historical triptych challenge the field through very different kinds of ambition. Our reservations are part of the case for discussing them.

From Junebug to Arrival, Adams builds performances around the moment a person decides what to believe, what to conceal, and what to do next.
Alex Gibney’s documentary and Lance Oppenheim’s television nightmare examine different forms of public authority—and the attention that helps keep them working.
The Odyssey’s straining timber, Resident Evil’s warnings and The Debut’s changing voice give us better starting points than asking which movie is loudest.
Apollo 13, 127 Hours, All Is Lost and The Martian turn explanation into suspense by teaching us enough to recognize when a solution is about to fail.
A national release date can describe a film that has not reached most of the country. Our coverage should make the distance between opening and access easier to understand.
Forty years after David Cronenberg’s film, its most disturbing effect remains the persistence of a person inside a body that can no longer support his idea of himself.
The Debut moves ahead on TSR’s personal ballot because Moore makes a comic transformation feel like a whole life being rearranged. That does not diminish Inde Navarrette’s Obsession performance.
In A Separation, Before Midnight and Anatomy of a Fall, conflict is built through listening, distance and the changing terms of what each person is allowed to say.
The dresses and landscapes are lovely. The income, inheritance and cost of getting a marriage wrong are what make the romances move.