The Oscars
A special section featuring scenes to remember, screenplays from political biopics, the critics’ picks for all the top categories and more.
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The extravagantly talented director Carlos Reygadas’s immersion in the exotic world of “Silent Light” feels so deep and true that it seems like an act of faith.
The Los Angeles County district attorney’s office told a court what it expects Roman Polanski to do if he really wants the case against him dismissed: surrender first.
“The Films of Michael Powell” brings a pair of impeccably restored movies by this pre-eminent British director.
“The Dark Knight” made it into the thick of things with the Producers Guild of America.
The comedy “Marley & Me” and other Christmas films continued strongly at the box office.
The surprise of Gus Van Sant’s “Milk” is how artful, how subtle and how sexy its history lesson turns out to be.
“Synecdoche, New York” might be the story of a life condensed into a single minute, but then, it might not.
Anne Hathaway, playing the central character in “Rachel Getting Married,” gives a brave performance that doesn’t ask to be liked; only to be believed.
As companies big and small trudge into January after a dismal 2008, the movie business is quietly celebrating solid if not spectacular results at the multiplex.
The sale of Rogue Pictures, a maker and distributor of lower-cost films, to Relativity Media signifies further reordering in Hollywood’s specialty movie business.
Mr. Hingle was a versatile character actor of stage and screen who became accustomed to winning critical praise in a career that spanned five decades.
”Waltz With Bashir,” the animated documentary about Israeli soldiers and their memories of Israel’s 1982 war with Lebanon, was chosen best picture of 2008 by the National Society of Film Critics, Variety reported.
When IFC Films releases the Italian crime drama “Gomorrah” in the United States on Feb. 13, it will come with a new endorsement in the credits: “Martin Scorsese Presents.”
The New York Times’s film critics offer their own nominations for the year’s best.
The ability to convey joy is part of the reason that Anne Hathaway has been working steadily and with increasing impact.
Laurence Mark and Bill Condon are out not so much to produce the Academy Awards ceremony as to find it again.
Art house meets grind house in “Cargo 200,” Alexey Balabanov’s morbidly compelling thriller set in the Soviet Union.
Edward Zwick’s stiff, musclebound new movie tells the true story of the Bielski partisans, who fought the Nazis and rescued hundreds of Jews through the darkest years of war and genocide.
“Good” is an anemic screen adaptation of C. P. Taylor’s play about a respectable “good German” who passively acquiesces to Hitler’s agenda.
A special section featuring scenes to remember, screenplays from political biopics, the critics’ picks for all the top categories and more.
With the awards season in full swing, A. O. Scott looks back at the 1950 classic which won the Oscar for best picture.
A look at the process that helped Brad Pitt age as Benjamin Button.
A. O. Scott reviews Billy Wilder's brilliant alternative to classic holiday films.
David Carr goes to the movies on New Year's Eve in Times Square.
Ari Folman, the writer and director of "Waltz With Bashir," discusses his filmmaking process, from interviewing subjects to creating the unique animation for the film.
Tim Palen, the co-president of theatrical marketing for Lionsgate, narrates a look at the series of posters used to promote “The Spirit.”
This guide includes links to the original reviews from the archives of The New York Times.
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