The 2022 Oscar Nominations, and What Should Have Made the List
It was a great year for Hollywood—judging solely from the cream of the crop.
February 8, 2022
“The Worst Person in the World” Is a Sham, Except for Its Lead Performance
Joachim Trier’s drama about an intrepid and passionate young woman in Oslo reduces her to a handful of character traits.
February 7, 2022
The Wondrous, Gloriously Absurd Spectacle of “Moonfall”
Roland Emmerich’s latest disaster fantasy is a festival of grandly alluring mumbo-jumbo.
February 4, 2022
“Bix” Is a Jazz Documentary That Resonates Far Beyond Its Subject
A poignant biography of the cornetist and composer Bix Beiderbecke makes you wonder about the films that could have been.
February 2, 2022
At Sundance, There Are No Limits to the Art of the Documentary
The thriving realm of independent filmmaking puts personal history in the spotlight, in fiction and nonfiction alike.
January 28, 2022
In “Compartment No. 6,” the Stranger on a Train Is a Drunken Russian Bear
This Finnish film is heavy-handed, regressive, and short-listed for an Oscar.
January 25, 2022
How “Who Killed Fourth Ward?” Challenged the Nature of Documentary Filmmaking
James Blue’s film investigates the destruction of a Black neighborhood in Houston, but it is also a powerful self-interrogation.
January 21, 2022
Hong Sangsoo’s Audacious Clash of the Generations
With “Introduction,” the prolific director portrays a world of bonds so tight that they leave scars.
January 18, 2022
A Celebration of Miklós Jancsó’s Challenging Political Cinema
The director was radically original and daring, yet even his greatest films are extreme rarities in the U.S.
January 13, 2022
How Peter Bogdanovich Shaped the Backstory of Modern Cinema
One of the most original directors of New Hollywood, Bogdanovich was also a critic who expanded our cinephilic heritage.
January 7, 2022