The fact that there is a big-screen “Mr. Rogers movie” is no surprise, nor is the casting of Tom Hanks as the children’s television host.

“Parasite” delivers an epic lesson in class warfare.

Noah Baumbach’s remarkably scripted new film might just as well have been called “End of a Marriage Story.”

The filmmaker Errol Morris gives us several reasons to recoil in his controversial profile and interview with the former White House strategist Steve Bannon.

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.

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.

We must accept that Quentin Tarantino will never make a serious movie—by which is meant a movie that takes itself seriously.

“American Heretics: The Politics of the Gospel” is about like-minded liberal Christians joining forces in a ruthlessly Republican landscape where people talk more religion than they practice.