At just 95 minutes, the family-friendly affair doesn't overstay its welcome. But it does have unfulfilled potential.

"Hostiles" director Scott Cooper swings from the wild west to the wintry east, where occult rituals and violence awaits. It's intriguing, until it isn't.

There's ambition in Noah Baumbach's colorful and catastrophic ode to the American family, but not much else.

The director of "Birdman" and "The Revenant" returns to his native Mexico to confront personal and national legacies.

The "Pan's Labyrinth" director treads closer to that sublime masterwork with an adaptation that restores a classic story's power.

The "Coraline" director partners with Jordan Peele for his latest creepy-crawly adventure, this one spotlighting institutional evils.

Benedict Cumberbatch firmly grasps the reins of Campion's drama with a career-best performance blending menace with curiosity.

Director Robert Greene's newest film is a display of selflessness, and a vital new chapter in the dark saga of abuse covered up by the Catholic church.

Originally scheduled for pre-pandemic release, Joe Wright's movie writes itself into a suspenseless corner. It lands on Netflix Friday.

Buoyed by producers Chris Miller and Phil Lord’s frenzied oddball energy, Netflix’s newest animated offering finely balances commentary and sheer colorful entertainment.

“It speaks, doesn’t it—the past?”

So suggests Ralph Fiennes’s self-taught archaeologist Basil Brown in Netflix’s earnest but scattershot new period drama “The Dig,” and while it’s one of those parabolic lines of dialogue (courtesy of screenwriter Moira Buffini) delivered in such a way that you expect it to blow open massive new craters of ideas and meaning to be explored, “The Dig” struggles to intuit what exactly it is the history of this movie’s setting – place: a quiet, vast stretch of England land; time: the volatile weeks preceding World War II – would whisper.

Comedy may be the best lens through which to experience Fincher’s newest movie, “Mank”—a phantasmal and fantastically entertaining work of deep irony, deeper relevance and ever-deepening contradiction that suggests he’s not only embraced his reputation as a storyteller who strives to meet no one’s standards aside from his own, but that he is also ready to weaponize it for his amusement. Ours, too, if we’re willing to humor him.