Michael Moore on ‘Bowling for Columbine’ in the Trump Era: ‘I’m Seriously Fed Up with Having to Make These Movies’

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‘Sicario: Day of the Soldado’ Review: Josh Brolin and Benicio Del Toro Return for a Vicious Sequel that Isn’t Worth its Violence

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‘Uncle Drew’ Review: Lil Rel Howery, NBA Legends, and Oscar-Worthy Makeup Help Make This Streetball Comedy an Easy Slam Dunk

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The Best Movie Reviews We’ve Ever Written — IndieWire Critics Survey

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The Best New Superhero in ‘Incredibles 2’ Is Basically Kristen Stewart

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The New Wave of Nicecore: How the Dark Age of Donald Trump Is Inspiring Movies to Choose Kindness Over Conflict

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‘Eating Animals’ Review: Natalie Portman and Christopher Quinn Make a Convincing Case that Meat Is Murder

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The 15 Best Food Movies Ever Made — IndieWire Critics Survey

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‘Incredibles 2’ Review: Pixar’s Dazzling Sequel Makes Superhero Movies Feel Human Again

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Hollywood Is Only Hurting Itself by Playing Things Safe: How ‘Ocean’s 8’ and ‘Solo’ Prove Blockbusters Need Better Directors

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‘Believer’ Review: A Frenzied Korean Remake of Johnnie To’s Brilliant ‘Drug War’

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‘Hotel Artemis’ Review: Drew Pearce’s Noir Pastiche Never Lives Up to its Potential

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The Best Movie Plot Twists of All Time — IndieWire Critics Survey

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‘211’ Review: Nicolas Cage Stars in an Inept Heist Thriller Even By Straight-to-VOD Standards

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‘Adrift’ Director Baltasar Kormákur Explains the Reasoning Behind the Movie’s Wild Plot Twist

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The 7 Best Movies New to Netflix in June 2018

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‘Action Point’ Review: The Most Painful Thing Johnny Knoxville Has Ever Inflicted Upon Himself or His Audience

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‘Breath’ Review: A Wistful Coming of Age Story about Surfing, Surrender, and Erotic Asphyxiation

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The 8 Best Movie Robots of All Time — IndieWire Critics Survey

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‘Solo’: Successful Prequel or Proof that ‘Star Wars’ Spin-Offs Should Go Extinct?

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