“Killers of the Flower Moon” makes a case that 80 is the new 30: Martin Scorsese, the most prominent of American auteurs and champion of film history, continues as an octogenarian to explore and expand the possibilities of the medium and scour his own soul.

In ‘The Miracle Club,’ Maggie Smith and Kathy Bates do not expect quick cures at Lourdes, and viewers should not expect a perfect film. But there are some surprises among the clichés.

Abel Ferrara’s Padre Pio is not the hero of his movie.

“Tár” is about power, guilt and the always tantalizing question of whether the art can or should absolve the artist for being who she is.

“Father Stu” is intended to be inspirational, but viewers may find any sense of elevation elusive.

For the better part of 40 years Pedro Almodóvar has personified both the cinema of Spain and the country’s conflicted relationship with the church.

Sidney Poitier’s abilities as an actor were subtle, even spiritual. They were about soul. Not his. Ours.

Aaron Sorkin's take on the "behind-the-scenes" world of "I Love Lucy" depicts Lucille Ball in a most unsympathetic light.

“Belfast” presents itself as a family photo album: Violence may intrude, but it doesn’t crowd out the Christmas pictures.

This is not a movie about crime and punishment, but damage and recovery.