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Kevin Costner Wills His Own ‘Yellowstone’ Into Existence With ‘Horizon: An American Saga’
Going full Francis Ford Coppola and producing an epic passion project at great cost to himself, Costner attempts a classical Western that could use a modern update
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Yorgos Lanthimos Isn’t Interested in Remaining Too Mainstream
Just two months removed from winning four Oscars for his surprise hit ‘Poor Things,’ the Greek director returns to his experimental roots—with mixed results—with ‘Kinds of Kindness’
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Francis Ford Coppola’s ‘Megalopolis’ Is a Big, Beautiful Mess
The film Hollywood doesn’t want you to see tries to cohere into something genuinely transcendent, but ultimately amounts to a banal vanity project
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‘Hit Man’ Was Made for Movie Theaters
Unfortunately, most will have to see the Richard Linklater–Glen Powell team-up on Netflix
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Bradley Cooper Is Trying So Hard
‘Maestro’ is a labor of love, and as its director and lead, Cooper has poured himself into it—but at some point all of the effort becomes noticeable, and all of Leonard Bernstein’s magic becomes lost
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Does Yorgos Lanthimos Want to Be Liked?
In past films like ‘Dogtooth,’ ‘The Killing of a Sacred Deer,’ and ‘The Favourite,’ the Greek director’s greatest strength was his alienation. In ‘Poor Things,’ he’s tilted toward appeasement.
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The Sons and Daughters of Tom Ripley
The main character of Emerald Fennell’s ‘Saltburn’ is cast in the mold of Matt Damon’s disturbing shape-shifter in ‘The Talented Mr. Ripley.’ He’s just the latest in a long, sad line of social strivers.
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The Best Movies From the 2023 Cannes Film Festival
The good, the bad, and the ugly of human nature were on display in the main competition of the 2023 Cannes Film Festival
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With ‘Killers of the Flower Moon,’ Scorsese Tells the Ultimate Gangster Story
Martin Scorsese’s three-hour Western features a throwback performance from Robert De Niro and Leonardo DiCaprio at his best in a film that mirrors aspects of classics like ‘Goodfellas’
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Can ‘She Said’ Comment on Hollywood From Within Hollywood?
The new movie documenting two female journalists’ investigation into Harvey Weinstein is thorough and at times even powerful. But how do you reconcile the fact that Weinstein’s behavior was enabled by the silence of Hollywood with that same industry’s impulse to make a film about his demise?