Tom Hooper adapts the Andrew Lloyd Webber musical into a Cronenbergian hellscape of trippy man-cats and the barest sliver of story.
We revisit the underappreciated humanism of James Cameron’s effects-driven blockbuster a decade after its release.
HBO Sports serves up a short-but-sweet documentary on the whimsical practice of creative dog grooming.
Netflix’s cult-hit stalker melodrama returns for a second season of wild, campy intrigue.
J.J. Abrams closes out the Star Wars saga by walking back its more interesting middle chapter and drowning itself in fanservice.
Paul Thomas Anderson’s character study baffled, aggravated & emotionally moved a divisive audience.
Sam Mendes’ Depresson-era gangster fable is as effective as it is in-your-face with its aesthetics.
Iorek reclaims his throne & Lyra gets both a new name & a family reunion in an uneven penultimate episode.
Despite a weak year for sequels, audiences are willing to play another round with the Rock and friends.
Terrence Malick’s three-hour opus examines the links between the theological, the empirical, and the absurdist in his best film in almost a decade.
Will Smith & Tom Holland lend their voices to an animated adventure that makes up in charm what it lacks in originality.
From HBO (Chernobyl, Watchmen, Succession) to Netflix (Russian Doll, The Crown, Stranger Things) and beyond, we break down the best TV of the year.
Damon Lindelof’s series comes to a conclusion that is as evocative and satisfying as it is rushed.
Michael Bay turns his singularly amped-up aesthetic to a Netflix blockbuster that’s even more brain-dead than usual.
The showrunner of Amazon’s sci-fi space opera The Expanse talks about bringing the show from Syfy to its new home, and what’s in store for season 4.
From Ad Astra to Us, we celebrate the cream of the cinematic crop in 2019.
The Safdie brothers continue their streak of blending pastiche with mind-cracking abandon while Adam Sandler gives it his all.
Clint Eastwood’s latest tests the limits of perception, even as it loses the script with its portrayal of the media.