84 stories from movies.nytimes.com
Unlike "Night and Day," the 1946 film starring Cary Grant, the new MGM biopic "De-Lovely" celebrates Cole Porter in all his complexities.
"Chicago" was supposed to usher in a new age of movie musicals. So where are they?
Stephen Trask, a self-proclaimed rebel and former queer punk rocker, has four soundtracks in or on their way to theaters.
"Taking Sides," by the Hungarian director Istvan Szabo, asks whether the conductor Wilhelm Furtwängler was a principled dissident or just Hitler's bandleader.
Alex Karpovsky’s documentary films a New York show by the Chicago improv team T J and Dave, and preparations and post-mortems before and after a performance.
Matthew Broderick adopts just the right attitude for his role in "Wonderful World."
"The Loss of a Teardrop Diamond," starring Bryce Dallas Howard as an emotionally unstable heiress in 1920s Memphis, exhumes an obscure Tennessee Williams screenplay.
"I can't make this movie," he sings. Substitute "watch" for "make" and provide your own music.
After the Storm follows a troupe of youngsters in New Orleans as they stage a benefit performance of the musical Once on This Island.
"Passing Strange: The Movie" immerses the viewer at once in the story and the process of performance, emphasizing the play's fidelity to emotional facts.
"The Boys" is an irresistible documentary about the inexhaustible sibling songwriting duo Richard and Robert Sherman.
In its cold-eyed assessment of the English aristocracy "Easy Virtue" has none of the lurking Anglophilia found in Merchant-Ivory movies.
"X-Men Origins: Wolverine," with its ungainly, geeky title and its relatively trim running time, helps explain just what makes this guy so intriguing and unusual.
An adult transforms into his teen idol, er, adolescent self in "17 Again."
In "Every Little Step," life imitates art, art reflects life, and the distinctions threaten, quite pleasantly, to blur altogether.
This movie adaptation of Rebecca Gilman's play is a methodical, not to say mechanical and plodding, exploration of identity politics and language.
In "12," the elements of the modest courtroom classic "12 Angry Men" have been enlarged to operatic dimensions.
"Good" is an anemic screen adaptation of C. P. Taylor's play about a respectable "good German" who passively acquiesces to Hitler's agenda.
The air is thick with paranoia in "Doubt," but nowhere as thick, juicy, sustained or sustaining as Meryl Streep's performance.
"The Reader" is a scrupulously tasteful film about an erotic affair that turns to love.
It's twinkle versus glower in the big-screen edition of Peter Morgan's theatrical smackdown "Frost/Nixon."
Heaven knows why reputable actors like Anne Hathaway, Patrick Wilson and Dianne Wiest attached themselves to "Passengers," a supernatural thriller so mechanically inept and lacking in suspen…
To say that Charlie Kaufman's "Synecdoche, New York" is one of the best films of the year is such a pathetic response to its soaring ambition that I might as well pack it in right now.
