“Savage Grace,” Tom Kalin’s long-awaited second feature (after “Swoon”), swoons through a number of lovely, storied places on its way to a sad and sordid end.
The agreement between the American Federation of Television and Radio Artists and the producers builds pressure on a bigger actors union, the Screen Actors Guild, to craft a similar solution.
Iraq documentary fatigue gets a rock-hard slap in the face with “Heavy Metal in Baghdad,” an intrepid, unlikely and altogether splendid feat of D.I.Y. reportage.
On the 100th anniversary of the birth of Ian Fleming, the novelist Sebastian Faulks adds another ersatz James Bond title to the shaky bibliography compiled after Fleming’s death.
Deceptively simple and threaded with gentle humor, “Mukhsin” paints the turmoil of puppy love on a canvas of family relationships as delightful as it is believable.
For all of its implication in its historical moment, “The Thief of Bagdad” plays like a timeless fantasy and a new version of “Come Drink With Me” is highly satisfying visually.
For the crew of the movie version of “The Road,” set to open in November, filming involved an upending of the usual rules of making a movie on location.
The box office gross, generated between Thursday and Monday, put to rest questions about whether one of moviedom’s most popular characters could strike a cultural chord after a 19-year hiatus from the big screen.
At the closing ceremony of the 61st Cannes Film Festival, the red carpet was overrun by teenagers when the French film “The Class” (“Entre les Murs”) won the Palme d’Or.
“You Don’t Mess With the Zohan” attempts to satirize the continuing tensions between Israel and its Arab neighbors, one of the least funny topics of modern times.
A new business aims to act as a sales agent for independent filmmakers not picked up by Hollywood — with an eye to distribute content on the Web or on other on-demand services.
“Johnny Mad Dog” is an assaultive fiction about Liberian child soldiers and “Delta” is a Hungarian film that rigorously upholds the conventions of the festival art film genre.
In the course of the extraordinary film “The Edge of Heaven,” children are lost, lost parents are never found, and generational and geographical distances grow wider.
There’s plenty of frantic energy in “Indiana Jones and the Kingdom of the Crystal Skull,” lots of noise and money too, but what’s absent is any sense of rediscovery.
Although “Sangre de Mi Sangre” exhibits a heartfelt connection with illegal immigrants, its myriad inconsistencies and strained plotting are frustrating.
The apocalypse came early to the Cannes Film Festival this year, filling screening rooms with snarling dogs, bursting bombs, shouting men and screaming women.
The “Sex and the City” star talks about growing up with the name Nixon, learning to watch sports on TV with her girlfriend and why the small screen may be the new Broadway.
Mr. Law was the handsome movie actor who captured attention as an angel in the futuristic “Barbarella” and a lovesick Russian seaman in “The Russians Are Coming, the Russians Are Coming.”
Mike Tyson, his days as heavyweight champion long behind him, finds himself on an unlikely path forward as a new documentary about his life makes its premiere at Cannes.
“Poultrygeist: Night of the Chicken Dead” is just about as perfect as a film predicated on the joys of projectile vomiting and explosive diarrhea can be.
“Poultrygeist: Night of the Chicken Dead” is just about as perfect as a film predicated on the joys of projectile vomiting and explosive diarrhea can be.
Little pieces of torn paper, a dollar bill and a picture of a headless bride fell out of an envelope the actress told a jury she received from a suspected stalker in 2005.
The six-year-old Hollywood wiretapping case went to the jury after a federal prosecutor urged the panel members to look past the celebrities and entertainment moguls involved.
Films from Sweden, Turkey, the Netherlands, Britain, the United States and Spain captured the top awards Thursday in juried competitions at the TriBeCa Film Festival.
The moody, surreal “XXY” explores the world of Alex, an intersex teenager navigating the treacherous emotional and hormonal rapids of uncertain gender.
“Viva” is a startlingly pitch-perfect reproduction of the kind of gauzy sex movies from the 1960s and early 1970s that preceded the hard-core revolution.
Defiant and colorful to the end, the accused Hollywood wiretapper Anthony Pellicano told jurors in his racketeering trial that he was simply a diligent private eye.