Film, TV & Streaming

Bad Times is a much better time in its mysterious middle, which tingles with darkly comic possibility, than in its final 40 minutes, when Goddard’s cards are on the table

Crafting his pseudo-realistic account of the crimes and trial of anti-Islamic murderer Anders Behring Breivik (Anders Danielsen Lie), writer-director Greengrass … examines the attacks through the pinhole lens of post-disaster trauma

None of Ashby’s movies were remotely autobiographical — the projects were often instigated by other, bigger names such as Warren Beatty and Jane Fonda — and yet he still found something surprisingly personal in the material

A tense, terse drama that plunges us headlong and handheld into the high-risk world of the space race in the 1960s, the film spares few moments for reflection or reverie

Each beat of this plays out with exquisite delicacy, as does the exchange where the crook lays out, with exacting detail, how he’d rob this diner if it were a bank — and then takes it all back, letting her think he was joking

The Hate U Give takes time to focus on the nuances of Starr’s life, on the ways Williamson has split her consciousness, on the effort of code-switching, on the layers of self that Starr must sort through in everyday interactions

This alien being, which helpfully calls itself Venom, is a fairly terrifying creation: a many-fanged, slobbery, snake-tongued monster that loves to eat people’s heads

The Denver Film Festival is back for its 41st edition, running October 31 through November 10 and showcasing more than 250 films.

Double-stuffed with kill squads, killer ’80s couture, and mood-killing howlers, Fernando Leon de Aranoa’s Loving Pablo is more a greatest hits than a story, the kind of radically compressed life-of-a-legend movie where everything happens in a giddy, ridiculous gush

Who’d have thought a show about the origins of a shyster/lawyer with a fake name whose clients are murderous drug dealers would turn out to be TV’s most satisfying depiction of an honest day’s work?

Its leads, feminist writer Rachel (Kathryn Hahn) and Richard (Paul Giamatti), a one-time wunderkind of no-budget theatrical productions, find themselves desperate to conceive a child even as the doctors they pay (with borrowed money) thousands to speak frankly of the odds

The idea practically sells itself: Kevin Hart has to take night classes to get his high school degree, and Tiffany Haddish plays his suffer-no-bullshit teacher

To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.”

The re-enactment and its subsequent cinematic portrayal were both the brainchild of Greene himself, and they mark the latest chapter in the career of a documentarian whose work keeps finding new ways to probe the gray area between authenticity and performance

The cameras aren’t even there when the kids officially present their projects, but the filmmakers still wring the big day for all the drama they can, putting off as long as possible the revelation of whether any of their subjects win

The filmmakers capture Honnold’s 2016 and 2017 attempts to complete the first “free solo” climb of these granite cliffs, and the suspense is thrilling, agonizing, perhaps indecent

The pups, named Primrose and Poppet and Phil and Potomac and Patriot, get dispatched from the organization Guide Dogs for the Blind to the homes of families dedicated to raising them for the first half of their training

Ultimately a story about brotherhood, friendship and the insecurity of life in a violent place, the film injects a sweetness and innocence into the genre, mostly through one stellar performance by John C. Reilly

As her marriage opens up, and Colette begins to take lovers of her own, Knightley summons up a moving sense of both relief and recklessness

Radner narrates, in a way, through her own audio diaries, plus some snippets of interviews and judicious excerpts from the audiobook of her perfectly titled — and just-barely posthumous — memoir, It’s Always Something

Roth’s film is a funhouse throwback, a scare-the-kids goof with a top-shelf cast, an antique shop’s worth of creepy windup dolls and more heart than you might expect — and, like those jack-o’-lanterns, it’s got more teeth, too

Despite the killing-spree craziness of its final reels, much of the film is a how-the-kids-live-now potboiler, replete with guileless dirty talk and immense bedroom windows that seem to have been installed with peeping in mind