Film

A new film by German director Christian Petzold is set in a suspended-in-time version of the present. Critic Justin Chang calls it "a piercingly sad lament for the lost and forgotten souls of Europe."

Justin Chang reviews the new film 'Birds of Passage' about a family corrupted by the Columbian drug trade.

Asghar Farhadi, the gifted Iranian filmmaker who in recent years has won foreign film Oscars for both A Separation and The Salesman, told The New York Times in January, "The taste of love and the taste of hate are everywhere the same." That belief in universality gets put to the test in Farhadi's latest film, Everybody Knows, a tale of love and crime that finds him working for the first time in Spain with a cast of Spanish-speaking stars.

Eight years ago, the British comedian Joe Cornish wrote and directed Attack the Block, a sci-fi horror-comedy about a bunch of rowdy South London teenagers warding off aliens from outer space. It was funny, scary and also touchingly sincere in its belief that children are the future, that the fate of the world really does rest on our young people's shoulders.

Shyamalan's latest film stars Bruce Willis, Samuel L. Jackson and James McAvoy in an eccentric, perilously self-indulgent sequel that braids together two previous movies: Unbreakable and Split.

Nicole Kidman gives an intense performance as a drunken, pointedly unlikable police officer in Karyn Kusama's new film. Critic John Powers says Destroyer is a flawed, but fascinating, noir thriller.

If you thought you'd seen enough characters in red masks and blue suits to last a lifetime, well, you ain't seen nothing yet: This new animated film puts a fresh spin on the Spider-Man saga.

I can't imagine a harder act for a filmmaker to follow than Moonlight. That movie, a quietly shattering portrait of a young black man wrestling with his sexuality, held you rapt with its intimacy; it left you feeling as if you'd stared deep into that young man's soul.

Nearly every review I've read of Alfonso Cuarón's Roma has insisted that you must see it on the big screen, and it's hard not to agree. You can certainly watch and appreciate this immaculately photographed movie when it hits your Netflix queue, but it's hard to imagine its immersive storytelling and virtuoso camerawork having quite the same effect.

Emma Stone and Rachel Weisz vie for the favor an ailing Queen Anne in a new comedy-drama set in the 18th century. Justin Chang says it's director Yorgos Lanthimos' most "emotionally resonant work."