Film

Film critic David Edelstein reviews In the Loop the new British political satire co-starring James Gandolfini.

Seattle director Lynn Shelton's fabulously squirmy film Humpday centers on two seemingly straight men who decide to have sex with each other as part of an amateur porn video competition.

John Powers reviews a luminous cinematic memoir by the 81-year-old French director Agnes Varda. Like all Varda's films, The Beaches of Agnes brims with its creator's independence and vivacity.

Sacha Baron Cohen's latest jaunt — as a flamboyantly gay Austrian fashionista — is funnier and riskier than Borat. Sure, he's a cheap-shot artist, but he's one who's often got a righteous point.

When it came out in 1961, Alain Resnais' Last Year at Marienbad perplexed and excited audiences with its surrealistic storytelling. John Powers has a review of the film's Criterion Collection re-release.

This lush, good-looking crime flick doesn't really have a theme, and it never quite sparks to life. But it's got lots of incidental pleasures — Johnny Depp's spirited performance chief among them.

Filmmaker Kathryn Bigelow knows how to get under your skin and control your responses — as she does in her latest feature, the Baghdad-set war movie The Hurt Locker. David Edelstein has a review.

James Gray's new film stars Joaquin Phoenix as a Brighton Beach man with a chance at happiness with one woman, and a passion for another who'll almost certainly bring him heartache.

Filmmaker Robert Kenner explores the underbelly of America's food industry — and the health consequences of its food-supply stranglehold — in his documentary Food, Inc.

Film critic David Edelstein reviews The Taking of Pelham 123, a remake of the 1974 subway-hostage thriller starring Denzel Washington, John Travolta, and Luis Guzman.