Film

Israeli filmmaker Joseph Cedar centers his new movie on a wannabe dealmaker, played by Richard Gere. Critic John Powers calls Norman a mordantly funny drama with a "dazzlingly revelatory" ending.

An English explorer searches for the remains of a supposed rain forest metropolis in James Gray's new film. Critic David Edelstein says The Lost City Of Z will "pull you in and along."

Anne Hathaway plays a woman mysteriously linked to a monster in South Korea in her latest film. Critic David Edelstein says Colossal shows that "even the dumbest genres can be used to profound ends."

Daniel Clowes' angst-ridden graphic novel is the basis for a new film starring Woody Harrelson and Laura Dern. Critic David Edelstein says Wilson's abrasive protagonist is worth getting to know.

More than 20 years after the release of the original film about a band of thieving Scottish junkies, Boyle returns to the same characters. Critic David Edelstein calls the new film "tremendous fun."

The new film, Get Out, defies easy classification. Though it has funny moments, it's primarily a horror film, with racial anxiety at its center. Writer-director Jordan Peele tells Fresh Air's Terry Gross that he thinks of Get Out as a "social thriller."

The film tells the story of an emotionally shut-down man who gradually learns that the events of his past are not as he remembers. David Edelstein says the movie, unlike the book, is a "non-event."

Major characters go down in showers of blood and gore in the latest stand-alone Wolverine film. Critic David Edelstein says that Logan is an "incredibly bleak ... crackerjack piece of work."

Worlds collide in Waking Lions, a new novel by Israeli writer Ayelet Gundar-Goshen. Like Tom Wolfe, who used the device of a hit-and-run accident in The Bonfire of the Vanities as a means to violently "introduce" New Yorkers of different races and classes to each other, Gundar-Goshen also begins her story with a car ride gone haywire.

Welles moved Shakespeare's mostly peripheral character to the center of this 1965 film. Critic Lloyd Schwartz says the performance "may be the most profound moment of Welles' entire film career."