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Spoiler alert: He’s still writing for us and not singing for her. But it’s just one example of the way the star has sweet-talked her way into the Oscar race.
The star of “The Dark Knight” and the director of “Anchorman” join forces to make a real-life supervillain biopic.
The director restored archival combat film to pristine clarity for “They Shall Not Grow Old.”
“Roma” is just the start of the company’s film plans. Traditional studios and multiplex chains are wondering if the strategy will cause people to skip theaters.
“Spider-Verse” took in about $35 million, enough for No. 1. “The Mule,” with $17 million, gave Clint Eastwood his best initial result since 2000.
He took on this film thinking the superhero had few fans. Then some other DC movies didn’t excite the public; now the new one faces unexpected pressure.
Expanding from its Williamsburg location, Nitehawk has taken over the Pavilion in Park Slope, a notoriously decrepit theater that closed in 2016.
Predicting the canon of Christmas movie future has never been easy. Here’s what The Times wrote about some of today’s favorites when they first hit screens.
“Godzilla: King of the Monsters” offers a strong look at its battling title stars; the big-screen version of “Downton Abbey” is short on specifics.
“Capernaum” explores the plight of a child in the Beirut slums. The director Nadine Labaki wants to harness the drama’s power to help other such children.
Mark Morris’s riotous and poignant take on ‘The Nutcracker’ returns to the Brooklyn Academy of Music.
The makers of this science fiction film discuss what was required to turn a sprawling city into a giant R.V.
Radio stations are pulling the standard from holiday playlists. Cable channels are debating it. And William Shatner is very worked up.
This lively, diverse comic-book movie brings some fun to a genre that often takes itself too seriously.
Jean Curran’s dye-transfer prints from film frames, and a stop-time movie by Catherine Opie, continue the 60-year love affair with Hitchcock’s “Vertigo.”
The director and writer discusses the work that went into recreating the Corpus Christi massacre of 1971.
The writer and director Alfonso Cuarón discusses a sequence from his film.
In his latest exploration of modern masculinity, the veteran filmmaker plays an unlikely courier for a cartel who finds redemption. It’s a rough ride.
Like a Charles Dickens hero, Zain makes his way through a city where cruelty and injustice threaten to overwhelm kindness and decency.
Set in a poor section of the city, Mazen Khaled’s film captures the numbness, grief and rage that come out of strife.
The Spanish actor Gustavo Salmerón stitches together an affectionate, frank portrait of his indomitable mother in this family documentary.
John Maringouin directs a dryly funny dissection of entrepreneurial absurdism bleeding into existential and metaphysical despair.
The director Sandra Luckow chronicles her brother’s mental illness. If this is a subject matter that has touched your life, you ought to see this movie.
To the extent that “Mortal Engines” resembles anything, it’s other movies, which it plunders with a landfill-diving zeal that suits the surviving populace.
Sandra Bullock, Sarah Paulson and a strong cast appear in this sci-fi thriller adapted from a novel by Josh Malerman.
More than eight hours long and harrowing to watch, Wang Bing’s “Dead Souls” is a necessary look at China’s brutal re-education camps for “rightists.”
The director’s new film tells the story of his childhood in Mexico — but seen from the vantage of the domestic worker who raised him.
The couple in this adaptation of James Baldwin’s novel are loving while black, an existential truth that is turned into a nightmare.
The actor is earning — and savoring — Oscar buzz for the first time in his career, for his work in “Can You Ever Forgive Me?”
The Screen Actors Guild went for some very popular films, and some Oscar contenders should be worried about being shut out.
The Library of Congress has chosen 25 films for induction into its registry, including “My Fair Lady,” “Rebecca,” “Broadcast News,” “Brokeback Mountain” and “Eve’s Bayou.”
The research, covering 2014 to 2017, also showed the power of films that pass the Bechdel test, in which two female characters discuss something other than a man.
A.H. Weiler reviewed “Black Christmas” for The New York Times on Oct. 20, 1975. Read the original review.
Adjani’s turn as a flamboyant con artist sends up her own aloof image in this fun and sophisticated comic caper from Romain Gavras.
What you need to know from Tuesday’s TV, music and movie news.
Janet Maslin reviewed “National Lampoon’s Christmas Vacation” for The New York Times on Dec. 1, 1989. Read the original review.
Bosley Crowther reviewed “White Christmas” for The New York Times on Oct. 15, 1954. Read the original review.
Vincent Canby reviewed “A Christmas Story” for The New York Times on Nov. 18, 1983. Read the original review.
Bosley Crowther reviewed “It’s a Wonderful Life” for The New York Times on Dec.23, 1946. Read the original review.
A.O. Scott reviewed “Love Actually” for The New York Times on Nov.7, 2003. Read the original review.