Denzel Washington and Frances McDormand play scheming lovers in the latest big-screen adaptation of a classic story, and one of its most stark renditions.

The filmmaker takes a breaks from blockbusters for a personal crowdpleaser that wavers between being melancholic and bareboned.

Four stellar performances anchor Fran Kranz's first behind-the-camera effort, burned by the embers of grief and the desperate search for closure.

Schrader's latest study of a volatile and potentially eruptive personality is potent in its bleakness but doesn't completely have a handle on its own stakes.

The French filmmaker's unpredictable style meshes with the idiosyncratic musical flair of Sparks to create something chaotic, self-referential and moving.

After triumphing at Sundance earlier this year, Siân Heder's winning sophomore feature is on its way to wringing tears out of the eyes of Apple TV+ subscribers.

Taiwanese filmmaker Tsai Ming-liang's new movie won't entice everyone with its slow and static documentary-like observations. But there's a poetry to its simplicity.

Edson Oda's ambitious feature debut is stuffed with great performances and aesthetic choices, but the catharsis it seeks to provide is more tremor than shockwave.

Michael Sarnoski's feature debut is defiant in its moods and captivating in its sadness as Nicolas Cage delivers an exemplary performance.

Propelled by engaging performances and refined craft, Robert Machoian’s newest movie recalculates a familiar kind of marriage-on-the-rocks story into an incredibly tense tale.

Writer-director Chino Moya's feature debut has some visual flair, but it's in service of familiar ideas and a nonexistant story.

“Moffie” emerges not as a story centered on the dehumanization of Black South Africans during the apartheid era, but rather on the empathy-starved soil of military boot camp from which hatred so easily sprouted.

Charléne Favier's frosty feature debut covers a broad canvas of emotional consequence via a small-scale, untraditional, ultimately devastating sports story.

Hong Kong's Oscar contender navigates the degrees of dystopian separation between real-world issues and melodramatic fiction, to middling success.

For the audience being invited into it, the space at the physical and spiritual center of “The Inheritance” feels somewhat suspended in time. Asili dispenses of any temptation of narrative urgency in favor of documentary-like vignettes that can shake off one aesthetic for another in any given moment.

Florian Zeller's confident film debut is an Oscar contender that creeps up to the line of horror and boasts some of Anthony Hopkins's finest on-screen moments.

Eddie Huang's first feature effort attempts to put an intergenerational immigrant-story spin on your standard sports tale.

The Russo Brothers’ “Avengers: Endgame” encore finds them unburdened and ultimately undone by the air-tight calculations of that superhero enterprise (and perhaps providing clarity as to who the success of the Infinity Saga’s finale ultimately resides with).

If the story being told in Shaka King’s “Judas and the Black Messiah” – a mighty impressive sophomore feature chronicling the influence and 1969 police assassination of Chicago Black Panthers leader Fred Hampton when he was just 21 years old – was any weightier, it would threaten to burst out of the TV sets that most HBO Max subscribers will likely be watching the movie through upon its Friday arrival.

The new drama “Land” finds the venerable Robin Wright boldly treading into unknown territory to contend with new challenges in more ways than one, and at the project’s center is a self-referential awareness that I’m sure its star must appreciate to a certain extent. Having spent the better part of the last half-decade popping up in high-profile blockbusters and helping to tug Netflix’s “House of Cards” across the finish line sans Spacey, “Land” sees the accomplished actress in the director’s chair of a feature film for the first time.