Justin Chang

In rich, melancholy new films from the directors Carla Simón and Mark Jenkin, the restorative power of cinema turns out to be a shore thing.

In the Disney-Pixar series’ latest chapter, Jessie, Woody, and Buzz Lightyear confront a looming threat—screen time—that’s changing the play habits of children everywhere.

In Olivia Wilde’s bickersome couples comedy, an evening of refreshments and recriminations leads to an intriguing proposition.

His new alien thriller has shades of “Close Encounters of the Third Kind,” “Minority Report,” even “The Post”—but the retreads yield diminishing returns.

Two surprise hits, both directed by precocious YouTube-trained talents, breathe shivery cinematic life into urban legends and cautionary tales.

It wasn’t a banner year for the world’s most important film festival, but there were gems among the twenty-two films contending for the Palme d’Or.

Matters of adolescent identity and child welfare loom compellingly large in new festival-premièred films from Marine Atlan, Jordan Firstman, and Cristian Mungiu.

In its first week, the seventy-ninth edition of the festival unveiled standout new works by James Gray, Paweł Pawlikowski, and Ryûsuke Hamaguchi.

In Ildikó Enyedi’s meditative nature epic, three lonely experimenters from three different eras seek to unlock the secrets of plants—and learn something vital about themselves.

In the Argentinean filmmaker’s new documentary, “Our Land,” and a recently restored masterpiece, “The Headless Woman,” an elusiveness of form becomes the most direct way to the truth.

The sequel, which reunites Anne Hathaway, Meryl Streep, and Emily Blunt, is familiar and at times preposterous—but it’s also a savvy, shiny reflection of our era.

In Fatih Akin’s coming-of-age drama, a twelve-year-old German islander witnesses the end of the Second World War from a perilous, momentous remove.