Alissa Wilkinson

“Martha,” from R.J. Cutler, argues that she was ahead of her time. But though she sits for a lengthy interview, this isn’t hagiography.

World War II is almost certainly the big screen's most immortalized conflict, and for good reason. It broke just as cinema was beginning to mature as a form of entertainment, and footage from the front narrated by peppy tales of victory was part of many people's moviegoing experience. What's more, though, the outlines of World War II could be boiled down to clean tales of good versus evil, bravery versus cruelty — the sort of stories that make good two-hour feature films.

Manohla Dargis and Alissa Wilkinson The New York Times Company

“The Room Next Door” is remarkably straightforward for a Pedro Almodóvar film, without the signature theatrics or sexual pyrotechnics that tend to pop up in the Spanish auteur's work.

Alissa Wilkinson The New York Times Company Q: Is it morally correct to stay seated until the end of the credits in a cinema?

There’s something unique about Bob Dylan’s big-screen presence. Over seven decades, he has been ubiquitous, but never predictable

NEW YORK – “I don’t know how you’re supposed to behave if you’re being chased by a vampire, or experiencing demonic possession,” said Robert Eggers, smiling a little but deadly serious.

Academy voters will do what they want, but if our chief critics had their way, these are the films and performers that would be up for Oscars this year.

“Shogun” won best TV Drama and three acting awards, “Baby Reindeer” was named best limited television series and “Hacks” best television comedy.

A tepid romance follows familiar genre lines, but lacks some fundamental appeal.