Film, TV & Streaming

Michael Mayer’s sunnily bleak all-star film, I fear, squirms through the first acts of Chekhov’s masterpiece the way a cast member’s 8-year-old cousin might in a theater seat

Like Rogue One, the other standalone Disney Star Wars film that suffered a famously troubled production, Solo has a just-finish-the-movie quality to it, an uncertainty about the pacing and seriousness of developments in its own story

Boom makes Basquiat out to be an on-the-fringe, Zelig-like character, attempting to get his foot into a bustling arts scene where the inner-city people were beginning to mingle with the downtown folk

This is what it’s like to be 27 and kind of a mess and totally sleepy and kind of miserable and suffering a headache and not sure who you are or who you should trust

The film follows Teresa (Paulina Garcia), a middle-aged woman who has spent most of her life as a live-in maid for an urbane, well-to-do Buenos Aires family

Here’s what you need to know: This is less Deadpool 2 than Deadpool Squared, a studio and its star (Reynolds is credited as co-writer) committing to hyper-violent self-referential comic-book buffoonery

… This is essentially Denis’ movie about the dating game — the highs and lows, the setbacks and surprises, the wine-filled meals and sublimely silent car rides flush with the possibility of either consummation or heartbreak

Starring Rachel Weisz and Rachel McAdams, Disobedience is an adaptation of Naomi Alderman’s novel of the same name, about a tightly knit Orthodox Jewish community and the prodigal daughter who returns to poke holes in its way of life

… This is an intimate portrait of the artist in recent years as she returns to Jamaica, the country of her birth and childhood, for a family reunion

As they leap through the years, West and Cohen give us a compelling account of Ginsburg’s key cases, starting from her days as a lawyer with the ACLU’s Women’s Rights Project.

For the young cowboys at the heart of Zhao’s film, mounting a horse and galloping across a field represents more than just freedom — it becomes a communion with the past and the future, allowing these riders to imagine and inhabit their best selves

At their core, both Overboards are traditional rich-person-learns-how-to-be-a-real-person farces, the kind of films Frank Capra and Preston Sturges used to direct in their sleep

… Bad Samaritan — with its title sounding very Grisham — tells the story of a low-level thief who breaks into a fancy-schmancy house and discovers a woman being held captive in a plastic-lined, camera-surveilled room

{Lucrecia Martel) transforms Benedetto’s epic into a dizzying, sensory head trip about a man’s gradual psychological decay, allowing larger historical and political themes to emerge organically from her meticulous formal compositions

… Diablo Cody and Jason Reitman have completed their trilogy of self-delusion with Tully, a gently sardonic look at a 40-year-old woman who finds herself in a cluttered house, with a clueless spouse, preparing to have a third child

This epic, the first of two final Avengers films, finds the Class of ‘12 — the core Avengers — getting together for one last rager, joined by select newbies and spazzes from the ranks of sophomores and freshmen

… You Were Never Really Here follows the disjointed, tormented inner journey of Joe (Joaquin Phoenix), a former soldier and law enforcement official who now works as a kind of hammer-wielding vigilante-for-hire, finding missing people (usually, it seems, kids)

Working from a novel by Willy Vlautin, Haigh has committed himself to making a boy-and-his-horse movie that’s scraped free of everything false or sentimental about the genre

Brad Anderson’s talky-smartish thriller Beirut, like the first half of Million Dollar Arm, sets Hamm’s sharpie loose in a country — in this case a fractious Lebanon — where the rules aren’t his

Grisebach surveys her incidents (river work, bar nights, outdoor parties, horseback reveries, confrontations between townies and outsiders) from various vantage points, honoring the perspectives of all parties

Here is a movie made for and about the people who believe they are the essence of American normalcy, a movie that dutifully flatters and celebrates them even as it works to expand who that normalcy actually includes

The film sends the simultaneous messages that it’s futile to coddle children but also that it’s OK to feel the icky stuff that you feel, because even your weaknesses can be transformed to strengths