Christopher Orr

When you take away guns and shootings, you have more time to explore grief, guilt, and the psychological complexity of crime.

Why on earth has the formulaic series, which debuted half a century ago, outlasted just about everything else on television?

The latest “MonsterVerse” movie from Warner Bros. is lazily plotted and feels wholly disconnected from the films that came before it.

The remake of Dirty Rotten Scoundrels with Anne Hathaway and Rebel Wilson doesn’t do much with its new female leads—and what it does do, it does poorly.

A complete refresher on the HBO epic’s many shaky story lines as the show heads into its long-awaited final season

Netflix’s latest offering tells the story of Bonnie and Clyde from the perspective of the lawmen—played by Kevin Costner and Woody Harrelson—who pursued and killed them.

Triple Frontier, by the gifted director J. C. Chandor, is a letdown compared with his prior work.

What if the film had treated its amnesia story line as a creative opportunity rather than as a hindrance?

Can Roma nab Best Picture? Will A Star Is Born be snubbed? Here are The Atlantic’s predictions for the 91st Academy Awards.

The Rebel Wilson vehicle is neither funny nor clever enough to be the movie it wants to be.

Asghar Farhadi’s new family drama starring Penélope Cruz and Javier Bardem centers on a mysterious kidnapping that unearths long-buried secrets.

Florian Henckel von Donnersmarck’s Oscar-nominated German drama is worth every minute of its three-hour run time.

In a new, authoritative book by Matt Zoller Seitz and Alan Sepinwall, the Sopranos creator David Chase appears to make an accidental confession.

Adam McKay’s film wastes exceptional performances by Christian Bale and Amy Adams.

Our critics make their picks.

Opinions will vary, but for those in the proper mood, the new sequel starring Emily Blunt is a very pleasant diversion.

Intimate in focus yet vast in scope, the director’s homage to his childhood in early-1970s Mexico City may be the best film of the year.

The director Peter Farrelly’s film about transcending race is saved by bravura turns by Viggo Mortensen and Mahershala Ali.

Though its “chapters” are individually compelling, the Coen brothers’ Western anthology film is an ungainly whole.

Up until the second-season finale, it was a show on which almost nothing ever happened.

So far, people have been focusing on the perverse incentives the award creates for Academy voters. But even more pernicious could be the incentives it creates for filmmakers and studios.

The director Gary Ross’s all-female twist on the heist franchise coasts on the star power of its cast, led by Sandra Bullock.

John Cameron Mitchell’s ode to 1970s punk rock and alien romance is too nice for its own good.

The Han Solo prequel isn’t groundbreaking, but it’s different and very well cast—and that’s enough.

The sequel is at least as hilarious, and features a better plot, better villains—including a standout performance by Josh Brolin—and a few unexpected swerves.

It turns out that the parallels between “The Riddle of the Sphinx” and the ABC drama’s Season 2 premiere were mostly coincidental.

Co-written by star Melissa McCarthy and her husband, Ben Falcone (who also directed), this Back to School knockoff is a dull and ramshackle mess.

Marvel’s latest—and largest—production is far from perfect, but it melds its many, many elements into an impressive mix of humor and sorrow.

The new Amy Schumer vehicle tries to be a feminist fable—and fails badly.

The director Lynne Ramsay’s latest film, starring Joaquin Phoenix, is high on style and talent, but low on plot, narrative, or emotional connection.

Wes Anderson’s second foray into stop-motion animation is a fable at once light and dark.

The new film from Veep creator Armando Iannucci turns one of the darkest moments of the 20th century into timely black comedy.

The director Ava DuVernay’s live-action adaptation captures the childlike wonder of Madeleine L’Engle’s beloved novel.

Revisiting a film embraced by the 1968 generation

Our critic explains his picks.

The director Alex Garland’s followup to his debut feature Ex Machina is frequently a pleasure to look at, but lacks structure and coherence.

The director Ryan Coogler's addition to the Marvel pantheon is a superb genre film—and quite a bit more.

Another sequel so awful that it needs to be described in detail to be believed

The self-seriousness of Christopher Nolan's Batman trilogy and its imitators has finally given way to films that embrace the genre’s comic potential.

The perfectionist actor Daniel Day-Lewis stars as a perfectionist dressmaker in Paul Thomas Anderson’s thoughtful, intriguing film.