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Darkest Hour

Darkest Hour stands apart from more routine historical dramas.

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The Man Who Invented Christmas

Not particularly keen on nuance or subtlety, this is a film in which everything, especially Stevens’ decidedly manic take on Dickens, is pitched as broadly…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Cut to Black: "The Sopranos" and the Future of TV Drama, Part 3

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Part 3 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.

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Cut to Black: "The Sopranos" and the Future of TV Drama, Part 2

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Part 2 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. This is the "Did Tony get whacked?" episode, in case you're wondering. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.

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Cut to Black: "The Sopranos" and the Future of TV Drama, Part 1

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Part 1 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. This chapter talks about the shock of first seeing the Sopranos ending, and viewers' reluctance to accept that it was meant to be ambiguous. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.

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World War Z

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"World War Z" plays as if somebody watched the similar "28 Days Later" and thought, "That was a good movie, but it would be even better if it cost $200 million, there were millions of zombies, and the hero were perfect and played by Brad Pitt." Which is another way of saying that if you need proof that sometimes more can be less, here you go.

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Monsters University

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If you were worried that animation giant Pixar was dipping into the same old wells too often ("Toy Story 3," "Cars 2," et al), the announcement of a prequel to their 2001 hit "Monsters, Inc." might have given you pause. Luckily, the result is more than reassuring. "Monsters University", which pictures Billy Crystal's one-eyed goblin Mike and John Goodman's fuzzy blue scare-master Sully as students attending Scare U, is true to the spirit of the original film, "Monsters, Inc.," and matches its tone. But it never seems content to turn over old ground.

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Man of Steel

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The title "Man of Steel" tells you what you're in for when you buy a ticket to this immense summer blockbuster: a radical break from the past. The absence of the word "Superman" tips us off that this new picture is less a standard reboot than a top-to-bottom re-imagining. Whether you approve of the result will depend on what you think Superman is, or should be.

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Violet & Daisy

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James Gandolfini's quietly magnificent performance as a doomed thief is the only reason to see "Violet & Daisy," a film about two young female assassins (Alexis Bledel and Saoirse Ronan) whose blank-faced sweetness is a cover for their iviolence.

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