Review: ‘Star Trek Beyond’ Sticks to Its Brand. That’s Not Necessarily Bad.
This film follows its immediate predecessors, “Star Trek” and “Into Darkness,” in sacrificing some of the old spirit to blockbuster imperatives.
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This film follows its immediate predecessors, “Star Trek” and “Into Darkness,” in sacrificing some of the old spirit to blockbuster imperatives.
By A. O. SCOTT
The New York Times critics Manohla Dargis, A.O. Scott and Wesley Morris discuss the prerelease outcry, how the original film wasn’t that amazing and Kate McKinnon’s greatness.
By MANOHLA DARGIS, WESLEY MORRIS and A. O. SCOTT
“The 13th,” about the United States’ sky-high incarceration rate, will be the first nonfiction film to kick off the festival in its 50-plus years.
By CARA BUCKLEY
A woman combines surveillance camera images and the business pages to predict shifts in the global markets.
By BEN KENIGSBERG
The actor discusses the revelation that the Enterprise helmsman is gay, his response to stereotypical roles and his thoughts on future projects.
By NICOLE CHUNG
Hector Babenco’s “Pixote” had a major influence on Julian Schnabel. The artist and filmmaker explains why.
By JULIAN SCHNABEL
The actor and the director discuss what led them to an additional chapter in the high-velocity life of a once amnesiac governmental assassin.
By LORNE MANLY
Edina and Patsy (and their friends, Champagne and vodka) invade American cinemas with “Absolutely Fabulous: The Movie.”
By ROSLYN SULCAS
This redo lets women, especially Kate McKinnon, be as simply and uncomplicatedly funny as men, and still leaves room for Chris Hemsworth.
By MANOHLA DARGIS