Film

Scorsese is certainly the great Catholic filmmaker of our times, one who regards sin as something that must be confronted or even embraced in order to be understood.

“The Exorcist” exposed people around the world to the question of evil in a new and terrifying way. It also laid the groundwork for a different kind of horror story.

François Ozon has created a film that is connected organically to its subject matter, one that breathes and writhes and grieves in synch with its victims.

Growing up, the plan for Pedro Almodóvar was to become a priest. Instead he became one of the world’s great directors.

In “Judy,” the utterly endearing Judy Garland—birdlike, brittle, addicted to pills and booze—is also a junkie for the standing O.

The film’s central event—the overnight visit of King George and Queen Mary to Downton—is an occasion less for conflict than for catering.