Justin Chang

In Steven Soderbergh’s film, Ian McKellen and Michaela Coel are superbly matched as two skilled painters who find their way from slippery deception to common ground.

In Kristoffer Borgli’s Boston romance, Robert Pattinson and Zendaya play a couple weathering more than their fair share of premarital jitters.

In Radu Jude’s blistering contemporary riff on Roberto Rossellini, a tragic death sends a bailiff spiralling into a futile campaign of self-flagellation.

Historical dramas from the directors Sergei Loznitsa and Annemarie Jacir are built around courageous acts of opposition.

With few exceptions, a ceremony that honored two of the most politically ferocious Hollywood action-thrillers in recent memory engaged only fitfully with politics.

In Phil Lord and Christopher Miller’s adaptation of Andy Weir’s novel, Ryan Gosling’s star power fuels an unlikely tale of far-flung friendship.

Every awards season is one battle after another, and the ninety-eighth Academy Awards ceremony promises a more climactic showdown than most.

In Daniel Chong’s cheerfully ludicrous science-fiction comedy, robot technology enables an environmental activist to walk and talk with the animals.

Gianfranco Rosi’s “Pompei: Below the Clouds” and Werner Herzog’s “Ghost Elephants” offer thrilling but troubled visions of a world in environmental flux.

The English director Bart Layton’s new film reveals a shaky grasp of L.A. but a pleasingly deep knowledge of noir.

Margot Robbie and Jacob Elordi play a paper-doll Catherine and Heathcliff in an extravagantly superficial adaptation of Emily Brontë’s novel.

The most important film festival in America bade farewell to its Utah roots.

Anchored by Alexander Skarsgård and Harry Melling’s superb performances, the British director Harry Lighton’s feature début brightens the bleak novel it’s based on.

In this gory sequel to Danny Boyle’s “28 Years Later,” an undead threat that has ravaged Britain turns out to be no match for the reality of living human evil.

In “All That’s Left of You” and “The Voice of Hind Rajab,” medical emergencies beget agonizing moral conundrums.