Justine Smith

The ongoing accolades showered on Jacques Audiard’s Emilia Pérez rank among the year’s most baffling developments. It’s a movie that, on the surface, feels epic: a musical drama about the intertwined destinies of three women in Mexico. It’s a film about class, gender and power; one that reaches for the stars and ends up frequently in the gutters. It’s at best a magnificent mess, at worse, a nonsensical chore — engulfed by its own absurdity.

Nikki Glaser was a huge step up from last year’s host Jo Koy, but the awards — and some of the winning films — still left a lot to be desired.

Nikki Glaser was a solid host, and kudos to Demi Moore, but this year's Golden Globes still left a lot to be desired.

The actors who voiced Mufasa and Scar spoke with us about working with Barry Jenkins and the challenges and joys of reimagining a beloved classic for a new audience.

The leads from Mufasa: The Lion King spoke with us about working with filmmaker Barry Jenkins (Moonlight) and the challenges and joys of reimagining a beloved classic for a new audience.

An interview with Aaron Pierre and Kelvin Harrison Jr., who voiced Mufasa and Scar in the new Lion King prequel directed by Barry Jenkins.

The award-winning epic The Brutalist, directed by Brady Corbet, stars Adrien Brody in a post-Holocaust saga that's ambitious but miserable.

In a beautiful apartment in Old Montreal, a dying documentary filmmaker recounts his life. An uncooperative and occasionally confused subject, Leonard Fife (Richard Gere in the present), uses the documentary as an opportunity to tell his beloved wife Emma (Uma Thurman) the secrets of his past. An adaptation of a Russell Banks novel (Paul Schrader’s second),

Richard Gere and Jacob Elordi both play Leonard Fife in Paul Schrader's latest adaptation of novelist Russell Banks, Oh Canada.

With her fragile Marilyn Monroe voice, Pamela Anderson delivers a quietly dynamic performance in The Last Showgirl. Thrust into the limelight due to her body and the enduring humiliations that cascaded through her life, Anderson’s actual history lends the film an aura that transcends the story of a showgirl unwilling and unable to retire. More than just creative typecasting, though, Anderson undeniably brings a tenderness that uplifts a film that is otherwise not especially interesting. With the softness of her voice and the self-aware performance of her body, she captures a wistful elegance that wavers between delusion and grace.