Baz Luhrmann’s film adaptation of the classic American novel finds stability in Carey Mulligan, and little else.

At the Midwest Independent Film Festival, “tremendous range was shown” in the selected eight shorts, all directed, written, and/or produced by female Midwesterners.

Robert Downey, Jr., carries the movie in his struggle to define himself without his iron suit.

Terrence Malick’s latest film explores the institution of love in a post-Tree of Life world, much to the pleasure of the late film critic Roger Ebert.

With his second film, Upstream Color, Shane Carruth finds success in writing, directing, scoring, and starring.

From Academy Award-winning director Danny Boyle, Trance is a gorgeously-filmed study in dichotomies.

The Music Box Theatre, a repertory theater in Lakeview, is playing Rodney Ascher’s Room 237—expect fake moon landings and hidden minotaurs (also, a secret message embedded in this article!).

In The Place Beyond the Pines, an intergenerational family drama from Derek Cianfrance, one character believes that “If you ride like lightning, you’re going to crash like thunder.”

Movies so bad they’re almost not good (plus Spring Breakers).

Korean filmmaking legend Park Chan-wook’s English language debut makes use of an incredible cast in order to subvert the director’s usual stylistic thrills.

Director Xan Aranda spoke at the Logan Center about her documentary, Andrew Bird: Fever Year, which follows the titular musician over the course of a year.

All bets are on at this Sunday’s showing of Hollywood’s brightest stars.

When an Academy Award is on the line, size matters.

Director Ruben Fleischer delivers a classic shoot-em-up movie with a high body count.

The Maroon catches up with the programming chair and former programming chair of Doc Films.

The film, nominated for an Academy Award in both the Best Picture and Foreign Language Film categories, is led by Emmanuelle Riva’s dazzling performance.

Despite mixed reviews, Tom Hooper’s Les Mis offers something for fans of the story in all of its various forms.

From underdogs to auteurs: we round up the flicks that made us flock to the theaters.

Though the classics of Ghibli Studio have their differences from those of Disney’s Renaissance Era, all of them know their way to the heart.

Arts editors and contributors review three highly-anticipated movies that opened this past holiday weekend.

In all the fuss over its lush single soundstage, Anna Karenina forgot its most important component: the complexity of its titular character.

Carax’s absurdist french flick suffers a bout of automotive genius.