Armond White

The Dardenne brothers document social development.

If I Had Legs kvetches relentlessly.

The movies that saved movies from themselves.

Richard Linklater salutes Godard, redeems himself.

Father Mother Sister Brother makes hipness a family trait.

Eephus mourns America’s last baseball game.

Chalamet and Safdie salute the me-first nation.

Craig Brewer celebrates Neil Diamond’s ecumenical working-class pop.

Highest 2 Lowest remakes Kurosawa for the DNC.

A Sondheim preservation venture against the odds.

Radu Jude puts a stake through diabolical politics.

This sequel doesn’t improve on what was irredeemable, but at least it’s shorter.

Recalling the film history that inspired National Review.

A warped history of justice, Tarantino-style.

A psychodrama about the West’s diminishing identity.

Del Toro’s remake refuses to grow up.

This Is Spinal Tap’s backward showbiz parody predicts Hollywood liberalism on the wrong side of culture and history.

A showbiz rock ’n’ roll version of Hamilton.

Panahi’s manipulation of liberal sentiment appeals to the Cannes culture that always rewards progressive banalities.

Sandler stares down Anderson.

A timely hit job equates cinema and politics.

An Officer and a Spy parallels the devastating history of the Dreyfus Affair with lawfare.

Even silly distraction is a form of repression.

An overdue exposé of the influencer syndrome.

The Hollywood resistance remakes the Man of Steel.

Despite cowardice and corruption, here are the year’s best movies so far.

In the shadow of Coppola’s collective political fantasy.

F1 insults the audience’s need for thrills.

A fresh look at the blockbuster’s semicentennial.

Gypsy’s famous stage mother, played by shrieking Audra McDonald, is racialized in Broadway’s latest instance of gaslighting.