A writer argues that episode-driven reviews limit their audiences and inhibit the discussion. Sam Adams disagrees.
The veteran movie-industry publication's film editor, Claudia Eller, explains why they're beefing up their critics' ranks when others are cutting back.
At a panel from the True/False Film Festival, critics weigh in on whether film criticism has kept pace with the steady growth of documentary film.
A new format called ScreenX promises images that envelop viewers on all sides. But how easy is it to watch?
Surveying 80 years of movie trailers, it's clear that the best directors have made advance advertising a part of their art.
The 'Jackass' crew's hidden-camera feature makes a pointed contrast with Sasha Baron Cohen's, which depending who you ask is either a good or a bad thing.
New York Times critic A.O. Scott calms the controversy by revealing his teenage daughter has seen the sexually explicit coming-of-age movie. Twice.
Rather than a nebulous "national conversation," '12 Years a Slave' sparks a discussion about racial bias built into the machinery of filmmaking itself.
'No Eulogies' aims to make Andrew Dominik's Brad Pitt-starring 'The Assassination of Jesse James by the Coward Robert Ford' a repertory staple.
Steve McQueen's brutal, unsparing look at American slavery has met with near-universal acclaim, but the critics who find fault with it ask questions worth answering.