‘Abigail’ Review: Horror by Numbers
In this cheerfully unambitious vampire movie, a bloodsucker is shut up in an old mansion with some nitwit criminals. Will there will be gore? You bet.
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CreditBernard Walsh/Universal Pictures ‘We Grown Now’ Review: A Child’s Eye View
Minhal Baig’s third feature follows two boys living in a public housing complex in Chicago as they cope by building their own dream worlds.
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CreditDanielle Scruggs/Participant/Sony Pictures Classics Denis Villeneuve Answers All Your Questions About ‘Dune: Part Two’
He explains why Lady Jessica’s face is so heavily tattooed, whether Paul considers himself the Messiah and what he thinks of those Javier Bardem memes.
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CreditChantal Anderson for The New York Times Tribeca Festival to Feature Brat Pack and Lily Gladstone Films
Organizers released the event lineup for the annual New York event, set for June. It includes films that trace the lives of Linda Perry and Avicii.
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CreditCourtesy of Brats Documentary
‘Stress Positions’ Review: It’s Giving Pandemonium
The writer-director Theda Hammel’s biting, delirious quarantine comedy skewers white gay men in a world where fact, fiction and authentic experiences collide.
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CreditNeon How They Pulled Off the Ending to ‘Civil War’
The action thriller from Alex Garland concludes with an explosive sequence in the nation’s capital. A behind-the-scenes look at how it was done.
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CreditMurray Close Participant, Maker of Films With Social Conscience, Calls It Quits
The company had critical and commercial hits over two decades but never made money consistently and faced a challenging entertainment landscape.
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CreditParticipant Media Review: ‘The Wiz’ Eases Back to Broadway
Almost 50 years after it debuted, this classic Black take on “The Wizard of Oz” tries to update its original formula.
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CreditRichard Termine for The New York Times A.I. Made These Movies Sharper. Critics Say It Ruined Them.
Machine-learning technologies are being used in film restoration for new home video releases. But some viewers strongly dislike the results.
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Credit20th Century Fox
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‘Blood for Dust’ Review: Dire Straits
This drug-run thriller, starring Scoot McNairy, traffics in grim ponderousness.
By Ben Kenigsberg
‘Egoist’ Review: A Romance With a Twist
In this ultimately sentimental drama, a lonely fashion magazine editor in Tokyo meets a personal trainer with a secret.
By Devika Girish
Long Dismissed, the Beatles’ ‘Let It Be’ Film Returns After 54 Years
Michael Lindsay-Hogg’s unloved — or misinterpreted? — 1970 documentary, the source for Peter Jackson’s “Get Back,” will stream on Disney+.
By Alex Williams
Rewind‘Man’s Castle’: Free Love, Hard Times
Restored to its original length and screening at the Museum of Modern Art, this 1933 movie starring Spencer Tracy feels at once surprisingly frank and disquietingly coy.
By J. Hoberman
‘The Stranger’ Review: Somewhere Over the Freeway
In this tense thriller on Hulu, Maika Monroe plays Clare, a Kansas transplant in Los Angeles who parallels Dorothy in Oz.
By Natalia Winkelman
The Dystopian ‘Civil War’ Reaches No. 1 at the Box Office
Alex Garland’s movie, starring Kirsten Dunst, surpassed “Godzilla x Kong,” with an estimated $25.7 million in North American ticket sales on its first weekend.
By Brooks Barnes
Prince Harry Hits the Polo Field in Front of Netflix Cameras
The Duke of Sussex competed in a match in South Florida the day after the announcement that he will be working on a new polo-related Netflix project.
By Carson Griffith
Queer Women Behaving Badly: These Movies Scrap the Coming-Out Story
“Love Lies Bleeding,” “Bottoms” and “Drive-Away Dolls” are leading a wave of stories about lesbians living their lives, committing crimes along the way.
By Laura Zornosa
Netflix’s New Film Strategy: More About the Audience, Less About Auteurs
Dan Lin, the streaming service’s new film chief, wants to produce a more varied slate of movies to better appeal to the array of interests among subscribers.
By Nicole Sperling
Eleanor Coppola, Who Chronicled Her Family’s Filmmaking, Dies at 87
She made documentaries of her husband Francis Ford Coppola’s “Apocalypse Now” and her daughter Sofia Coppola’s “The Virgin Suicides” and recalled their lives in books.
By Clyde Haberman
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