Money almost buys happiness in excellent ‘Florence Foster Jenkins’
Matt Damon returns to a franchise that’s lost its way
Berkeley-raised writer and director Matt Ross stays true to his roots with Captain Fantastic—which will surely seem a deep movie in that...
The Lady in the Van gives viewers a lesson in compassion and charity
Is ‘Spectre’ really the ‘worst Bond in 30 years?’ Don’t believe the anti-hype
New Steve Jobs documentary shows how ruthless the Apple co-founder could be
‘The Stanford Prison Experiment’ revisits one of the most notorious studies of all time
Sci-fi thriller ‘Self/Less’ doesn’t live up to director Tarsem Singh’s potential
‘Good Kill’ is Andrew Niccol’s didactic, sometimes wishy-washy liberal movie about the drone strikes
Kristin Wiig runs wild—and transcends her sketch comedy roots—as a truly strange character ‘Welcome to Me’
Comics remain both relevant and marginalized
Julianne Moore is good in ‘Still Alice,’ but she’s been so much better
‘Mr. Turner’ captures a brutish, observant artist living in a brutish time.
Doc explores healing powers of magic mushrooms
There’s a lot to like in Ridley Scott’s maligned ‘Exodus’
Elves and orcs are just going through the motions in the final chapter of Peter Jackson’s ‘Hobbit’ trilogy
College comedy questions a post-racial America in ‘Dear White People’
United Nations Association Film Festival showcases documentaries from around the globe
Camels and landscapes shine in ‘Tracks,’ the true story of an outback trek
Despite some good acting, ‘The Drop’ feels like it’s faking it
In its search for musical authenticity, ’Begin Again’ hits the right notes
‘X-Men: Days of Future Past’ doesn’t play fair with its mutants
How can ‘Neighbors’ be Seth Rogan’s best movie?
Gia Coppola’s ‘Palo Alto’ captures the highs and lows of adolescence
Jarmusch’s vampire flick is ironically his warmest film Jim Jarmusch’s first film in three years taps a commercial vein—vampires always sell, even...