Justin Chang

In the viscerally unnerving films of Ari Aster, there's nothing more horrific than the reality of human grief. His haunted-house thriller, Hereditary, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster's new movie, Midsommar, doesn't pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas.

Justin Chang reviews the new film by director Danny Boyle that imagines everyone has no memory of the Beatles except one singer/songwriter.

The Toy Story movies are about the secret lives of dolls and action figures that find their deepest fulfillment in a child's embrace. But they're really about what it means to be human: the joys of love and friendship and the pains of rejection and loss. But even more than the earlier films, Toy Story 4 feels haunted by the idea of impermanence. What happens when we outgrow something we once cherished? To put it another way: After three Toy Story movies, do we really need a fourth?

Jimmie Fails plays a man who continues to visit the old Victorian house he grew up in — even though his family no longer owns it — in this comic fable about the toll of gentrification.

Emma Thompson stars as a talk show host who hires Molly (Mindy Kaling) to join a writers room full of white men. But the film falls short in reconciling its satire with its more sentimental moments.

The first time we see Elton John in Rocketman, he's wearing a spangly red devil costume with sharp horns and enormous wings. It's one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn't dressed for a concert. It's around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world's most successful rock stars, but he's also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.

Joanna Hogg's movie, which centers on a young film student, is the first of a projected two-part drama drawing from Hogg's life. It won the top prize in Sundance's world cinema dramatic competition.

Writer-director Olivier Assayas has a knack for turning abstract ideas into stimulating cinema — which is exactly what he does in Non-Fiction, a modern-day talkfest centering on the Parisian elite.

Critic Justin Chang says he couldn't tear his eyes away from Elisabeth Moss, who gives a spectacular performance as an out-of-control punk musician struggling with substance abuse.

In the science-fiction thriller 'High Life,' Robert Pattinson and Juliette Binoche play two members of a space crew sent on a mission to investigate a black hole millions of miles from Earth. The movie is a rare English-language picture from the acclaimed French filmmaker Claire Denis, who previously directed Bionoche in the 2017 romantic comedy 'Let the Sunshine In.' Film critic Justin Chang reviews it.