A romance about wanting to see a romance, a comic tragedy about an onlooker willing something tragic, Anne Fontaine’s Flaubert-inspired meta-pleasure Gemma Bovery takes as its subject the act of watching the lives around us — and of wishing those lives were literature. Or films: Here’s a French film thick…

There’s a knot of tough, tender, persuasive scenes near the end of Isabel Coixet’s life-advice drama Learning to Drive. These are muscular enough that, had they come earlier, they might have powered the movie — the filmmakers’ hearts might be in the right place, but the film’s doesn’t kick in…

A comedy too listless to bother crafting jokes or comic incidents, a character study centered on a sweet-natured prick it’s hard to believe could actually exist tumbleweeding into a job at a lube shop, 7 Chinese Brothers is a go-nowhere shrug of a movie, the kind of indie that might…

Mean and vigorous men’s-adventure pulp throwback No Escape has everything going against it. It’s a late-August release whose leads, Owen Wilson and Lake Bell, tend to be the best things in movies you otherwise regret seeing. The trailers, teasing the story of a toothsome American family hunted by peasant rebels…

Is it in honor of its subject that the high-flying doc Being Evel indulges so often in hilarious overstatement? “He opened the door and invited people to buy a ticket to watch truth,” one talking head insists, somehow keeping his face straight. Another speaks of how in the early 1970s…

Promising and disappointing all at once, Jon Watts’s backroads thriller Cop Car heralds the arrival of a significant director, one adept not just at the usual action and suspense but also at the fleet, affecting depiction of lives as they’re actually lived. In the opening scenes, the camera glides alongside…

“This conversation is the best one I ever had,” David Lipsky (Jesse Eisenberg) says as The End of the Tour wraps up, and the movie, a pleasantly talky chamber piece, gives us welcome bursts of conversations. That long chat, with a David Foster Wallace (Jason Segel) abashed by the success…

There’s steady, scary thrill in the final third of Meru, the latest attempt to conquer the climb-and-tweak-the-nose-of-God mountaineering documentary, a genre that has yet to reach its apex. The terrible beauty of the Shark’s Fin point of northern India’s Mount Meru is enough to make this worth seeking out on…

We may not need another hero, but true believers don’t need to shrink-ray their expectations. Ant-Man is the first Marvel film — and the first of this summer’s pixels-go-kablooey time-wasters — to get better as it goes. The filmmakers save their biggest, wiggiest ideas for the climaxes, where they wittily…

Above all else, a movie built around a star promises presence, and in Bill Condon’s Mr. Holmes, that promise is dual: Here’s 100 or so minutes with the great Ian McKellen, for once not casting spells, controlling magnetism or classing up script pages of expositional gobbledygook. Besides that, Mr. Holmes…

Part of what makes writer-director Rick Famuyiwa’s Dope so fresh and joyous is that in many key ways, it’s not new at all. Here’s a dramatic teen comedy, flavor-crystaled with sex and drugs and innocent raunch, about good friends who get caught up in bad business on their way to…

Of course a 2015 Joe Dante horror-comedy would be some kind of throwback. The Gremlins director has spent a career idealizing the creature-feature jollies of his youth, jolting audiences with wittily vicious nostalgia. Dante’s goofy monster movies have always been more toothy than their antecedents — more technically accomplished, fully…

One of the funniest things in Live From New York!, the latest repackaging of Saturday Night Live history, comes from Amy Poehler, describing the institution that made her a star: “SNL — the show your parents used to have sex to that now you watch during the day.” Something almost…

In its last moments, Amy Berg’s exposé of sexual predators among Hollywood’s management classes offers a curious disclaimer: “The filmmakers acknowledge that this is not a gender based issue,” a title reads, just before the closing credits. “We chose to tell these specific stories, but they are representations of a…

Twenty years back, at the height of the UFO boom, the truest believers in alien abduction scenarios would argue that their most compelling evidence was the commonalities between regular people’s stories of nighttime visitations. Even under hypnosis, “abductees” testified to remarkably consistent waking-dream terrors: an alert immobility, shadowed and mostly…

Maybe we contain multitudes, and maybe we contain a couple great splashes of primary color. With one arm stretched high above his head, puppeteer Caroll Spinney has spent the last decades embodying the warmest of yellows and grimiest of greens, playing — in every sense of the word — Sesame…

A movie about bringing down drug lords that’s actually mostly about movies, Cédric Jimenez’s The Connection is stretched over driven-cop beats so familiar that American audiences could probably follow it without subtitles. (It’s in French; add that to the title, and you get a sense of its police-film ambitions.) It’s…

“This is the oldest skull I have,” the Swiss artist H.R. Giger says, showing off this prized possession the breezy way you might a set of Fiestaware. He lifts the skull and regards it. But then his speech is breathy and halting, tender with age, as he elaborates: His father…

This feels like a film that shouldn’t exist. How is George Miller’s bonkers, exhausting, no-future smash-’em-up Mad Max: Fury Road not one of those almost-was boondoggles mourned and dreamed of by fans, a revered director’s impossible vision that, thanks to the un-stout hearts of studio bean counters, never actually vaulted…

It’s tempting to suggest that if you have any interest in Iranian film in general, or in particular Asghar Farhadi — the director and writer of that shred-your-heart masterpiece A Separation — you should simply get yourself to Farhadi’s About Elly without knowing a thing about it besides its title…

One of the most inspired ideas in late-middle Woody Allen pictures comes in Deconstructing Harry, a movie about how Allen loves Bergman, hates Philip Roth, and isn’t quite clear on what “deconstruction” means. Allen stages passages from fiction written by the protagonist, a novelist named Harry; one features Robin Williams…

Did you know that there’s a new family-audience feature film that implies that God nuked Japan because one plucky American moppet dared to dream? That’s no exaggeration. In the summer of 1945, the kid stands on a California dock, points his fingers magician-style out at the Pacific horizon and screams…