Richard Brody

Tyler Thomas Taormina’s comedy drama about a Long Island family boasts some of the year’s sharpest characterizations and a strikingly original narrative form.

In Jesse Eisenberg’s film, a shticky bromance obscures a thoughtful attempt to probe the legacy of the Holocaust.

The ninety-four-year-old director’s courtroom thriller, starring Nicholas Hoult and Toni Collette, shows how self-interested parties can make the striving for justice yield injustices.

The political maneuvering of cardinals gathered in the Vatican to choose a new Pope gives rise to fine performances but merely methodical drama.

Sean Baker’s hectic drama, about the mismatch of a sex worker and an oligarch’s son, masks its synthetic storytelling with authentic locations.

This discerning personal documentary, made by Palestinian and Israeli filmmakers, looks closely at a long-standing campaign of demolition and the violence that goes with it.

A teeming MOMA series highlights the political power of Portuguese filmmakers’ innovative methods, from the nineteen-sixties to the present day.

A new film dramatizes Trump’s rise to success and his fall into turpitude, but fails to capture his dubious star power.

The movie tells an admirable and moving story about a woman coming through her troubles, but it conveys no sense of creative or emotional risk.

Recognized directors deliver surprising works that expand both their own horizons and the possibilities of the art at large.