“The Invite” Is a Witty Relationship Comedy That Could Be Wilder
Justin Chang reviews Olivia Wilde’s new movie about the collision of two very different couples, in which an evening of…
The Current Cinema
admin “Toy Story 5” Won’t Leave Kids to Their Own Devices
Justin Chang reviews “Toy Story 5,” in which Jessie, Woody, and Buzz Lightyear confront a looming threat—screen time—that’s changing the…
In “Disclosure Day,” Steven Spielberg Replays the Hits
Justin Chang reviews Steven Spielberg’s new alien thriller, which has shades of “Close Encounters of the Third Kind,” “Minority Report,”…
“Backrooms,” “Obsession,” and Hollywood’s Zoomer-Horror Renaissance
Kane Parsons’s début, starring Chiwetel Ejiofor and Renate Reinsve, doesn’t quite cohere—but Curry Barker’s takes a familiar premise to a…
“Power Ballad,” Reviewed: A Bromantic Conflict Over a Hit Song
Richard Brody reviews John Carney’s dramedy, in which a thwarted songwriter, played by Paul Rudd, crosses paths with a former…
All the Films in Competition at Cannes 2026, Ranked from Best to Worst
It wasn’t a banner year for the world’s most important film festival, but there were gems among the twenty-two films…
The Kids Are Not All Right at Cannes
In his second dispatch from the film festival, Justin Chang considers premières from Marine Atlan, Jordan Firstman, and Cristian Mungiu…
“I Love Boosters,” Reviewed: A Socialist-Surrealist Shoplifting Fantasy
Boots Riley’s new film is an exuberantly inventive but overstretched comedy about the redistribution of luxury goods, Richard Brody writes.
All of a Sudden, the Glories of Cannes Are Upon Us
Justin Chang writes about the first week of the 2026 Cannes Film Festival, which unveiled standout new works by James…