Movies

Highlights

‘Moana’ Review: It Doesn’t Go Far
This live-action remake of the 2016 animated film has nothing to add to the original, and winds up subtracting instead.
By Alissa Wilkinson
CreditDisney Enterprises Inc.
The Secret to the Biting Sexual Dynamics of ‘The Invite’: Esther Perel
The psychotherapist helped Olivia Wilde and her cast ground the antics of their relationship comedy in the reality of clinical practice.
By Clarissa Cruz and Rosie Marks
Credit
1. ‘Evil Dead Burn’ Review: Stop, Drop and Kill
  A dark spirit boils and sears its way through an unhappy family in the latest “Evil Dead” installment.
  By Beatrice Loayza
  CreditWarner Bros. Pictures
2. ‘Gail Daughtry and the Celebrity Sex Pass’ Review: Hamming It Up
  A small-town naïf heads to Los Angeles to bed her celebrity crush (Jon Hamm) in this bonkers sex comedy.
  By Jeannette Catsoulis
  CreditSony Pictures Classics

Health Screenings: Where Hospitals’ T.L.C. Includes a Movie Theater
A British nonprofit helps patients escape the stress and boredom of ward life by watching the latest blockbusters.
By Alex Marshall
CreditDominic Whisson for The New York Times
Few Composers Can Sell Out Arenas. He’s One of Them.
Joe Hisaishi got famous writing the soundtracks to Hayao Miyazaki’s Studio Ghibli films. Now he is focusing on his first love: classical music.
By Joshua Barone
CreditKentaro Takahashi for The New York Times
‘The Hole’: Urban Apocalypse as Tuneful Chamber Drama
Tsai Ming-liang’s 1990s doomsday film gets its first theatrical run with a new 35 mm print at both Film at Lincoln Center and Metrograph.
By J. Hoberman
CreditBig World Pictures
Rewind
Stream These 7 Inspiring Soccer Documentaries From Around the World
In these nonfiction accounts, the sport is a force for hope in sometimes dire situations.
By Carlos Aguilar
CreditNew Black Films Ltd./Mirrorpix, via Greenwich Entertainment
Readers Pick the Definitive Films That Capture America
Though “Idiocracy” and “The Godfather” topped their list, the sheer range of suggestions shows how there are many ways to understand the country.
By Stephanie Goodman
Credit20th Century Fox/Alamy

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‘Westhampton’ Review: A Humiliating Return
They say that you can’t go home again; in this movie, a young filmmaker learns that the hard way.
By Glenn Kenny
Documentary Lens
In ‘Remake,’ a Life Documented on Film Prompts Painful Questions
Ross McElwee (“Sherman’s March”) reconsiders footage of himself and his family, including a son who died of an overdose.
By Alissa Wilkinson
‘Night Nurse’ Review: An After-Hours, Erotic Con
In this thriller, a phone scam is being run out of an elder care facility. Eleni, a skittish but observant nurse, quickly becomes enmeshed with two others in the grift.
By Lisa Kennedy
‘Reading Lolita in Tehran’ Review: Seeing the Words Clearly
A film adaptation of Azar Nafisi’s celebrated memoir of teaching literature in a repressive Iran suggests that the story might be more suited to the page.
By Ben Kenigsberg
Critic’s Pick
‘Do You Love Me’ Review: Images of a Beirut Beyond War
The director Lana Daher creates a complex emotional portrait of Lebanon with found footage assembled into a 75-minute film of memory, trauma and life.
By Nicolas Rapold
‘Barrio Triste’ Review: Bad Boys With a Movie Camera
This experimental and earnest film from the Colombian American photographer Stillz follows a group of wayward boys in 1980s Medellín.
By Natalia Winkelman
Louise Lasser, Star of TV’s ‘Mary Hartman,’ Is Dead at 87
She began her screen career in Woody Allen movies (he was also her husband), but she was best known for her portrayal of the Ohio housewife in the pigtails and puffed sleeves.
By Anita Gates
My Ten
Catherine Laga’aia on the Funniest Podcast Episode Ever
“I would just watch it, replay it, watch it, replay it,” the “Moana” star said.
By Kathryn Shattuck
Perilous and Preposterous, ‘Cliffhanger’ Brought Stallone Back From the Brink
Renny Harlin’s high-altitude thriller starring Sylvester Stallone and John Lithgow was peak early 1990s action extravagance.
By Maya Salam
TimesVideo
Why ‘There Will Be Blood’ Is the Most American Movie
The New York Times Film Critic, Alissa Wilkinson, breaks down how Paul Thomas Anderson’s 2007 epic deconstructs and exemplifies American ideals.
By Alissa Wilkinson, Edward Vega and Gabriel Blanco