The Nineteen-Seventies of “The Holdovers” Is Conveniently Sanitized There’s something appealing about the nostalgia of Alexander Payne’s film, but also something contrived. October 31, 2023 When Hollywood Was Hip and How It Got That Way A new book evokes the secret cinematic revolution that took place in plain sight in the nineteen-fifties. October 30, 2023 “The Pigeon Tunnel” Is Both Delightful and Wildly Frustrating Errol Morris’s portrait of John le Carré ignores its own strengths and leans into its weaknesses. October 24, 2023 The Silent Thunder of “Killers of the Flower Moon” Martin Scorsese’s masterpiece is intent on not merely narrating history but awakening a collective confrontation with racialized murder. October 20, 2023 Martin Scorsese on Making “Killers of the Flower Moon” The director discusses shooting movies outside the studio system and finding the right way to film a story about a series of murders that took place when oil was found on Osage land. October 17, 2023 “Taylor Swift: The Eras Tour” Is Intimate, Colossal, and Slightly Disappointing Swift is a melodramatist in the best sense, distilling what’s extraordinary in ordinary life, but the movie falls short of her fascinating aesthetic. October 16, 2023 “Anatomy of a Fall” Is Prestige Cinema as Airport Novel The airtight dramatic construction of Justine Triet’s courtroom thriller matches its prefabricated attitudes and moral incuriosity. October 12, 2023 Remembering Terence Davies, the Greatest British Director The late filmmaker was the supreme cinematic poet of memory, and thus of loss and regret. October 9, 2023 What to See in the New York Film Festival’s Second Week Hong Sangsoo, Catherine Breillat, and Sofia Coppola deliver three types of intensity. October 6, 2023 Concentrated but Far-Reaching, “Civic” Is an Ideal Short Film Dwayne LeBlanc’s début gives an archetypal tale a boldly modernist form. October 4, 2023