The Magicians Pushes Fantasy to Its Limits

Take it from the network that rebranded as Syfy: The best trick in The Magicians is its phoniness. The actors share a broad house-style stiltedness and uniform, plasticine good looks — even the same haircut. The sets, costumes and special effects, while often inventive (a baddie with a head made…

Rest in Peace, Mary Tyler Moore, Reluctant Feminist Icon

Mary Tyler Moore, who died Wednesday at 80, was a reluctant feminist. She wouldn’t even call herself one at all. In 1970, when Moore embodied the character of flighty, 30-year-old single TV news producer Mary Richards on The Mary Tyler Moore Show, there was no other such woman portrayed on…

Don’t Expect Gold to Set a New Standard for Crime Capers

Gold’s value lies chiefly in the hearts and minds of those who seek it. The noble metal has driven humans to perpetrate ignoble acts on their quests to unearth it since at least 5000 B.C.E., when slaves divined for golden veins to lavish their Pharaohs with jewelry. The Incas even…

Pablo Larraín’s Neruda Fractures the Biopic

“Art is a lie that tells a truth,” Pablo Picasso once said. The aphorism animates Pablo Larraín’s canny and vigorous Neruda, a sidelong biopic of the preeminent Chilean poet and politician, featuring a brilliant Luis Gnecco in the title role, that’s equal parts fact and fiction. (Conversely, Larraín’s film also…

Can an Experimental Dance Movie Save the Doomed Gunnison Sage Grouse?

The maligned Gunnison sage grouse is about to become a star. The bird, which has long been ridiculed for its bizarre appearance and its quirky mating rituals, has also been at the center of a fight between conservationists and oil-and-gas companies over the future of Bureau of Land Management-owned land in western Colorado. While it may be headed toward extinction, the puffy creature is making its debut as the subject of a movie, Last Chance to Dance.

Pagnol’s Marseille Trilogy Packs in More Life Than Math Allows

Gentle, humane, embracing a full range from slapstick to tragedy, Marcel Pagnol’s trilogy about the people of the Marseille waterfront has bewitched audiences for decades. Multiple remakes, including a Broadway musical, Hollywood condensations by James Whale in 1938 and Joshua Logan in 1961 and a recent “reboot” from French actor…

Woman Power Serves a Boy in Mike Mills’s Late-’70s Remembrance

One of the quasi-bohemians in Mike Mills’ gauzy 20th Century Women loves to document ephemera, taking photos of everything she owns. A similar instinct — archiving as art — guides Mills’ movie itself, a trip back in time in which era-specific talismans substitute for genuine thought. Though big feels glut…

M. Night Shyamalan’s Latest Is Neither Mess Nor Triumph

Despite his reputation, M. Night Shyamalan has never lived and died by the twist. His best films, like Unbreakable or even last year’s cheerily nasty wicked-grandparents thriller The Visit, work first as accomplished, emotionally engaging suspense. What’s most memorable about them isn’t the final-act revelations or even the quietly impressive…

The Founder Finds America (and Its Food) Turning Nasty

Like its subject, the man who took McDonald’s from a single burger shop to a globe-straddling child-fattener, John Lee Hancock’s The Founder can’t stop selling. The first fast-food kitchen, set up in 1953 by the solemn McDonald brothers in San Bernardino, gets celebrated here as rousingly as John Glenn’s first…

Keith Maitland Gets Animated Discussing His Powerful Documentary Tower

One of the most powerful documentaries of 2016, Keith Maitland’s Tower immerses the viewer in the 1966 massacre at the University of Texas, during which Charles Whitman fired from a clock-tower in Austin, shooting 49 people and killing 16. The film takes a somewhat surprising and stylized approach to re-creating…

The Biggest Twist: How I Learned to Stop Worrying and Love M. Night Shyamalan

M. Night Shyamalan appears again to be having a moment. His last film, 2015’s grandparents-gone-wrong horror flick The Visit, proved a small hit with critics and audiences alike, and his latest, this week’s multiple-personality abduction thriller Split, seems poised to do likewise. And why not? Both films are effective chillers…

Say Hello to The Bye Bye Man, a Not-Bad Twist on Candyman

Maybe it’s a just a sign of the Blumhouse-era horror-movie world we find ourselves in, but there’s something refreshing about a scare flick that (a) actually shows you its monster occasionally and (b) gives you a definite reason to be afraid of it. Hiding things in shadows to enhance audience…