A splendid jewel box of a movie about rather grisly matters, the filmmaker’s latest represents another example of the clash between his playfully self-aware aesthetic and his growing obsession with our inhumanity

The movie follows Wade Watts (Tye Sheridan), an orphaned teenager living in Columbus, Ohio, in 2045, who spends pretty much all his time, along with everyone else in this world, inside a virtual universe called The Oasis …

… the film is dedicated to “all who have been persecuted for their faith,” which means that in today’s world, it’s pretty much dedicated to everybody

“The robots were the good guys, because humans drove them. So maybe they weren’t technically robots. Well, some of them were.”

Set in Cannes (which, big surprise, is also where it premiered), Claire’s Camera opens with three scenes depicting the firing of a young woman, Man-hee (Kim Min-hee), from her job at a Korean film sales company

It’s fun stuff, but in a deeply corrosive way — daring to suggest that people engaged in a soul-sickening endeavor will find, well, their souls sickened

Knowing the real-life inspiration for On the Beach at Night Alone may help one appreciate the film’s moral trajectory a bit better

It has impenetrable technobabble jutting up against awkward football metaphors and a reverie on peanut butter-and-jelly sandwiches sandwiched between a monologue on climate change and the triumphant revelation of a character’s hidden home arsenal.

In Between is a movie not so much about suffering as it is about the grinding reality of just being

The director seems to be in pursuit of a broader tapestry: The Russia he presents is a wasteland of survival, where a woman’s only hope is pairing off with a moneyed man

Though fictional, Alea’s film mixes a variety of forms, incorporating both documentary footage shot by the director on the streets of Havana as well as archival historical images

It’s a twisty-turny crime drama complete with stolen money, vengeful mob bosses, and all sorts of strange coincidences and random dialogue digressions.

As you might have guessed and/or feared, Will Gluck’s screen adaptation of Peter Rabbit departs fairly significantly from Beatrix Potter’s beloved children’s tales. But though the film insists on its own irreverence a bit too much at the outset — it opens with a group of birds inspirationally singing, “You’re only as small as your dreams,” before they get abruptly knocked out of the sky — it offers plenty of lively fun once it settles down, and wisely keeps the pandering to a minimum.

… The film has three sections, and each part seems to assume a different set of genre conventions, a different set of emotional cues

The charm of a fantastical hand-drawn work like this is that it reconnects us to the primal wonder of the image

Phantom Thread unfolds so quietly that the questions it’s asking about the nature of desire and attraction, and its delicately confrontational back and forth between Alma and Reynolds, may not register immediately

In Paddington 2, the emigre bear (again voiced by Ben Whishaw) appears to be the glue holding the Browns’ diverse, colorful neighborhood together

Bradlee and Graham learn over the course of The Post to abandon the clubby congeniality that allowed politicians to lie to the press for so long without ever getting called on it

Over the course of the film, we go from seeing the elder Getty as a figure of great power to one of no power at all, and that is perhaps the most fascinating part of the movie …

Writer-director Rian Johnson has certainly made the busiest Star Wars film of them all, but he keeps it from becoming a slog by infusing it with humor, verve and visual charm

Just as the story should start to speed up and get more predictably exciting, it becomes weirder, drawn to odd tangents.

Franco portrays Wiseau as a haughty but charismatic weirdo, someone who isn’t well-liked but who definitely gets noticed