Movie Station - Ultimate Movie Guide
Daddy Yankee, a big star in the musical genre of reggaetón, takes his big-screen shot in “Talento de Barrio.”
“Night and Weekends” observes the failing days of a relationship and an awkward, post-breakup reunion.
Written and directed with unrelenting cynicism by 22-year-old Luke Eberl, “Choose Connor” is undeniably obvious and intermittently awkward.
“The Express” is an honorable example of a tried-and-true formula, aimed at a large cross-section of the moviegoing public: people who love football and hate racism.
Moonlight, mist and thick tropical air permeate the landscape of “La León,” a sumptuous film about the swirling of desire in the Paraná Delta.
At moments “City of Ember” suggests a mild satire of end-of-days ideology.
In “Breakfast With Scot,” an effeminate 11-year-old boy who loves boas, beads and Broadway musicals is taken in by a semi-closeted gay male couple.
The Academy of Motion Pictures Arts and Sciences agreed to allow television commercials for forthcoming movies to be shown during the broadcast of the Oscars ceremony.
With “Ashes of Time Redux,” Wong Kar-wai makes a definitive version of his 1994 swordsman film.
“Happy-Go-Lucky” is closely tuned to the pulse of communal life, to the rhythms of how people work, play and struggle together.
A Sotheby’s auction of the Belgian singer and songwriter Jacques Brel’s possessions has generated more than $1.4 million in sales, Bloomberg News reported.
Ridley Scott’s new movie, “Body of Lies,” raises a potentially disturbing question. If terrorism has become boring, does that mean the terrorists have won?
In “Delwende” the African filmmaker S. Pierre Yameogo tackles social injustice in present-day Burkina Faso with grace, economy and exquisitely controlled anger.
What does it say about our culture that “The Wrestler” and “Changeling,” the most prominent American films in the New York Film Festival, are shameless Oscar bait?
Guy Ritchie reshuffles a worn-out deck in “RocknRolla,” a return to the shady stylings that characterized his earlier flicks.
“We are virtually invisible,” Robert David Morgan, a regular on “CSI,” said at a news conference on Monday announcing a plan to expand media-industry employment of people with disabilities.
A newly remastered edition of “Risky Business” restores the film’s subtle textures. And “The Last Laugh” has never looked as dazzling on home video until now.
The new Disney comedy “Beverly Hills Chihuahua” took the No. 1 spot at the weekend box office.
The film “Fireproof,” about a firefighter who saves his marriage by turning to God, has become a box office success.
The striking union that briefly brought film and television production to a halt in India said that its demands had been met and that it would call off its strike.
Cheap shots and mean spirits abound in “An American Carol,” a lazy satire of the radical left.
Alec Baldwin’s attack on the family law system is also a sad memoir of a marriage gone desperately sour.
How Queen Latifah Inc. keeps on keepin’ on.
“Ashes of Time Redux” is a martical-arts movie that took years to film and more years to restore.
Can “Body of Lies,” with Leonardo DiCaprio and Russell Crowe, finally make the Iraq war entertaining?
“Afterschool,” a film by Antonio Campos, wrestles with the complications of young life in a YouTube world.
The crushingly unfunny and slopped-together “How to Lose Friends & Alienate People” has neither the ambition nor the intelligence to do justice to its source material.
As thin as an iPod Nano, as full of adolescent self-display as a Facebook page, “Nick & Norah’s Infinite Playlist” strives to capture what it’s like to be young right now.
The National Federation of the Blind is planning to protest the film “Blindness” at more than 80 theaters nationwide, the organization has announced.
Hollywood meets Havana as the 46th New York Film Festival glides and sometimes stumbles into its second week.
The wonderful thing about “Rachel Getting Married” is how expansive it seems, in spite of the limits of its scope and the modesty of its ambitions.
So much pot is smoked in the agreeable drama “Humboldt County” that you may come away from it with a contact high.
“Blindness” is not a great film. But it is, nonetheless, full of examples of what good filmmaking looks like.
The Screen Actors Guild’s negotiating committee voted late Wednesday to ask the union’s board to approve a strike authorization vote by its 120,000 members.
“Flash of Genius” is a doggedly workmanlike variation of an old story: the lone crusader doing battle with the big bad establishment.
The initial glimmer of hope “The Pleasure of Being Robbed” inspires with regard to the indie offshoot genre of mumblecore quickly dies.
“Allah Made Me Funny” looks at comedians who, through humor, aim to bring mainstream awareness to the position of Muslims within modern Western society.
“Beverly Hills Chihuahua” approaches but never quite achieves a truly spectacular level of absurdity.
Propelled by geysers of blood and tidal waves of neuroses, “Tokyo Gore Police” plumbs wounds both cultural and physical to deliver splatterific social satire.
“Eagle Eye” is the latest evidence that sometimes, at the movies, more is less.
Journalists were given an extended look at the movie, about the tawdry life of superheroes who have fallen from grace.
Mr. Jones directed films such as “Betrayal” as well as dozens of productions by the Royal Shakespeare Company.
Mr. Jones was a cerebral and versatile British-born director.
“Religulous” is a film that aims for laughs, not a scientific survey of the roots of faith.
“Ballast” is a serious achievement and a welcome sign of a newly invigorated American independent cinema.
Bickering over a new contract continues between the Screen Actors Guild and major Hollywood studios.
Two recently issued collections offer strong evidence of life before the work of David Lean and Carol Reed in the British film scene.
Paramount on Monday announced a deal to distribute Marvel Entertainment’s next five movies.
A clutch of late-season releases promises to push several big studios heavily into the Oscar fray.
Paul Newman learned to use his flawless face, so we could see the complexities underneath.
With “Religulous,” Bill Maher and Larry Charles carry their brand of evangelism to a broad swath of targets.
Few remember Paul Newman quite as well as A. E. Hotchner, his friend and neighbor in Westport, Conn.
Mr. Newman, one of the last of the great 20th-century stars, acted in more than 65 movies over half a century.
Paul Newman learned to use his flawless face, so we could see the complexities underneath.
Paul Newman learned to use his flawless face, so we could see the complexities underneath.
Mr. Newman, one of the last of the great 20th-century movie stars, acted in more than 65 movies over more than 50 years, drawing on a physical grace, unassuming intelligence and good humor.
Paul Newman, one of the last of the great 20th-century movie stars, acted in more than 65 movies over more than 50 years, drawing on a physical grace, unassuming intelligence and good humor.
Gay actors and actresses are just starting to enter the mainstream.
Ms. Dawn played the beautiful, melancholic and doomed Eurydice in the classic 1959 Brazilian movie “Black Orpheus.”
Sylvain Chomet, fired as the director of “The Tale of Despereaux” more than two years ago, accused the film’s producers of using his concepts in the movie without acknowledging his contribution.
“Fireproof” is a decent attempt to combine faith and storytelling that will certainly register with its target audience.
“Smother,” starring Diane Keaton and Dax Shepard, is a shrill would-be comedy that isn’t easy to watch.
A comic actor with a soft edge, Michael Cera has become an unlikely sex symbol.
Most movies set out to tell a story. Lance Hammer was after something more amorphous. With “Ballast,” he wanted to depict a tone.
“Miracle at St. Anna” exists in part to make the overdue point that African-American soldiers fought as bravely and as hard as the characters in Hollywood combat epics.
The Walt Disney Company’s film division said Wednesday that Johnny Depp would star in a fourth installment of its “Pirates of the Caribbean” franchise.
For many critics and cinephiles who came of age in the 1960s and ’70s, Nagisa Oshima, now 76, has long held the mantle of Japan’s greatest living filmmaker.
The young bodies crowding “The Class,” an artful, intelligent movie, come in all sizes, shapes and colors.
There’s no joy and not even much cruel laughter to be had from “Nights in Rodanthe.”
With a smooth, light touch, “The Lucky Ones” focuses on the idea that the present and the people who factor into it are all we really have.
To visit the absurdist world of “Choke” requires that you dive through the looking glass into a labyrinth where personal identity is fluid.
Robert Redford has been named the winner of the 2008 Dorothy and Lillian Gish Prize in recognition of his films, his activism and his creation of the Sundance Institute.
The music of Arthur Russell fused minimalist drone to ethereal melody, cello thrum to warbling vocals, downtown braininess to universal pop.
Like a trompe l’oeil painting “Boogie Man: The Lee Atwater Story” deftly positions its subject as both the savior of the Republican Party and the Antichrist of American politics.
“Unspooled” chronicles the ill-fated 2003 shoot of “Bemoana,” a New York University student film that’s ridiculously overwrought.
“Forever Strong” was devised by committee, plotted by machine and acted on cruise control.
Without Barney Rosset, you might never have been able to hide that copy of “Lady Chatterley’s Lover” from your parents.
Marrying small-screen formula to big-screen actors, “Shoot on Sight” is an earnest melodrama that struggles to surmount its good intentions.
Those already attuned to the transgendered world will certainly find “The Amazing Truth About Queen Raquela” to be a heartfelt, unusual take on it.
“Ripple Effect” starts with a not-very-original insight and takes too many shortcuts delivering it.
The 46th New York Film Festival includes a striking number of features that might be called semi- or quasi- or crypto-documentaries.
The extravagantly talented director Carlos Reygadas’s immersion in the exotic world of “Silent Light” feels so deep and true that it seems like an act of faith.
The maverick publisher of Grove Press, Barney Rosset, is the subject of the documentary “Obscene.”
A piece of Francis Ford Coppola’s youth, which also happens to be one of the greatest works in American film, has been recovered, and spectacularly so.
Michael Moore, the political provocateur behind the films “Fahrenheit 9/11” and “Sicko,” is releasing his new film, “Slacker Uprising,” as a free download.
A court in India has dismissed a lawsuit filed by Warner Brothers against the makers of a film called “Hari Puttar: A Comedy of Terrors.”
The crisis on Wall Street is roiling companies around the globe, but bank-financed credit is continuing to flow into the movie business, albeit more moderately.
“The Man From London,” directed by Bela Tarr, is an outrageously stylized, conceptually demanding film.
“Silent Light” is now receiving its American theatrical premiere with a six-day run at the Museum of Modern Art.
Connecticut is rising in the ranks of locations preferred by producers nationwide, spurred by a 30 percent tax credit enacted in July 2006.
A rapidly escalating legal fight between Warner Brothers and 20th Century Fox is headed for trial in federal court in Los Angeles next January.
Kate Hudson loosens her wholesome screen image a notch in her latest star vehicle, a racy comedy, which aims to be tasteless (it often is) and romantic (it mostly isn’t).
It wasn’t that easy being gone. Now Disney’s marketing machine tries to bring the muppets back.
With “The Class,” Laurent Cantet recharges the classroom genre by casting actual students and teachers.
With “Blindness,” the director Fernando Meirelles offers an alternative vision of the apocalypse.
Paramount Pictures executives congratulated Steven Spielberg, David Geffen and Stacey Snider on having announced completion of their deal to leave the studio. Though no such announcement has been made.
Paramount Pictures executives congratulated Steven Spielberg, David Geffen and Stacey Snider on having announced completion of their deal to leave the studio. Though no such announcement has been made.
“A Thousand Years of Good Prayers” is a gentle, pleasantly unrushed piece of moviemaking.
Realistic performances make Matthew Bonifacio’s quiet charmer “Amexicano” much more than just another preachy treatise on illegal immigration.
This powerful, conceptually sure film is relevant as both a model of documentary method and compassionate social filmmaking.