Movies

“The Man I Love” brings the director Ira Sachs to competition for the second time, after “Frankie” in 2019. It’s the sort of film that might sound familiar in a description, butit’s made with such detail and care that...

If, as is suggested early in Ron Howard’s documentary “Avedon,” the genius of an archetypal Richard Avedon photograph lies in how it strips away everything extraneous—so that nothing remains but the audience, the subject, and a white background—then making...

This year’s Ebert Fellows attended the True/False Film Festival, one of the most essential non-fiction cinema events of the year. Here are their reports:PAIGE TERNADO“To really make a film like this, you have to ignore every commercial model that...

Boots Riley is one of the few American filmmakers who are most visibly invested in conversations about class, capitalism, and aesthetics in their works. He pushes each subject to the point of breaking in absurdist works whose visual ambition...

Confession: I am an absolute sucker for any movie in which a character grabs dry-erase markers and begins drawing diagrams to illustrate a novel theory about how capitalism, democracy, and the natural world interact.That remarkable exegesis—and it is remarkable,...

The first thing you need to know about “Nemesis,” the latest from “Power” creator Courtney A. Kemp and her partner Tani Marole, is that it is deeply silly. It features lines like a diamond thief saying to his boss,...

The last we saw of Kelly Reilly’s Beth and Cole Hauser’s Rip in the series finale of “Yellowstone,” they had just settled into their new home, a ranch in the quiet outpost of Dillon, Montana. For one perfect, sun-dappled...

Netflix turned heads in Hollywood by giving Greta Gerwig's Narnia an exclusive theatrical release, a move that could signal a shift in the streamer's relationship with movie theaters. ...