‘Under the Wire’ Film Review: Hard-Hitting Doc Examines the Woman Behind ‘A Private War’

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‘Creed II’ Film Review: Michael B Jordan and Sylvester Stallone Return for Serviceable Sequel

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‘Mary, Queen of Scots’ Film Review: Saoirse Ronan and Margot Robbie Make Worthy, Regal Adversaries

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‘Shoah: Four Sisters’ Film Review: Claude Lanzmann’s Final Holocaust Documentary Features Improbable Survivors

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‘Instant Family’ Film Review: Rose Byrne and Mark Wahlberg Weather the Rocky Adoption Process

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‘Bird Box’ Film Review: Sandra Bullock Battles Her Fears in Thoughtful Thriller

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‘Amazing Grace’ Film Review: Aretha Franklin Lives in This Resplendent Gospel Concert Film

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‘Searching for Ingmar Bergman’ Film Review: Margarethe von Trotta Explores Her Love of Swedish Auteur’s Work

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‘Overlord’ Film Review: Great Video Game Movie That’s Not Based on a Video Game

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‘On the Basis of Sex’ Film Review: RBG Biopic Celebrates the Political and the Personal

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‘Outlaw King’ Film Review: Chris Pine Scottish War Epic is Meh-dieval

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‘Fantastic Beasts 2’ Film Review: J.K. Rowling Prequel-Sequel Conjures Magic and Messiness

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‘Dr. Seuss’ The Grinch’ Film Review: Benedict Cumberbatch Helps Make Third Time Charming

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‘The Front Runner’ Film Review: Hugh Jackman Is Gary Hart in Jason Reitman’s Enjoyable, Slight Political Saga

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‘Better Angels’ Film Review: Propagandistic Doc Avoids Tough Questions About US-China Relations

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‘Maria by Callas’ Film Review: Opera Legend Maria Callas’ Life, Told in Her Own Words

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‘Nobody’s Fool’ Film Review: Tyler Perry Makes Tiffany Haddish Do All the Work

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‘A Private War’ Film Review: Rosamund Pike and Jamie Dornan Give Searing Performances as Real-Life War Correspondents

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‘Postcards from London’ Film Review: Gay Escort Contemplates Beauty in Skin-Deep Indie

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‘The Nutcracker and the Four Realms’ Film Review: This Sugarplum Is Rancid

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‘Boy Erased’ Film Review: Gay Conversion Drama Has Powerful Moments But Also Rote Ones

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