New York Times

Manohla Dargis New York Times 2 days ago Images of real death have become so commonplace in our lives that I imagine Vasarhelyi and Chin assumed their audience would be fine... It was not; it’s exploitation. Go to Full Review Everest: The Other Side (2026) 77% - -

Ben Kenigsberg New York Times Oct 23, 2026 In this context, sunshine, rainbows and lollipops are no fun. Go to Full Review Klara and the Sun (2026) 26% - -

Natalia Winkelman New York Times Oct 23, 2026 Much like “Marie Antoinette,” it is a confection to savor rather than scrutinize. Go to Full Review Making Marie Antoinette (2026) 100% - -

Alissa Wilkinson New York Times Oct 23, 2026 The Only Living Pickpocket in New York is remarkable in many ways, first among them Turturro’s performance. Somehow, despite a 40-year career full of memorable roles, Turturro is still underrated. Go to Full Review The Only Living Pickpocket in New York (2026) 97% - -

Manohla Dargis New York Times Oct 23, 2026 Some movies announce their intentions with self-important flourish... Lee takes a more discreet, nuanced approach in “Possible Love,” easing into the narrative obliquely with slices of life that are rich in incisive, resonant detail. Go to Full Review Possible Love (2026) 100% - -

Alissa Wilkinson New York Times Oct 23, 2026 Watching it gives a sensation akin to curling up under a cozy crocheted blanket with a novel and a hot toddy nearby. Go to Full Review A Talent for Murder (2026) 78% - -

Manohla Dargis New York Times Oct 23, 2026 Fatherland is suffused with its characters’ longing, with desires that they express and others they can’t. There’s pathos in some of their words, though often it is what remains unsaid that hits hardest. Go to Full Review Fatherland (2026) 93% - -

Alissa Wilkinson New York Times Oct 23, 2026 Complex and perceptive, “One in a Million” never lets its subjects be stereotypes... The decade-long relationship between the subjects and filmmakers builds trust that allows each person both vulnerability and dignity on camera. Go to Full Review One in a Million (2026) 100% - -

Jeannette Catsoulis New York Times Oct 22, 2026 Bouncing all the way to a truly perfect ending, “Wicker” is funny and freaky and sweetly romantic. It is also relentless in its conviction that the most destabilizing force in a society is a woman who dares to ask for what she wants. Go to Full Review Wicker (2026) 94% - -

Maya Phillips New York Times Oct 22, 2026 A film taking about 230 puppets across 132 sets, Wildwood is most remarkable for its lively, verdant woods, but, for the brief times we see Portland, is just as convincingly grounded in the character of its eccentric city setting. Go to Full Review Wildwood (2026) 99% - -

Alissa Wilkinson New York Times Oct 16, 2026 Peltier may not be in prison anymore, but his story remains a symbol of a much larger failing. Go to Full Review Free Leonard Peltier (2025) 87% - -

Manohla Dargis New York Times Oct 16, 2026 It’s a dizzying moment, all the more so given that we’re watching, too, swept up in a ricochet of gazes in the mirrored fun house we now live in. Go to Full Review You Can See Everything (2026) 96% - -

Alissa Wilkinson New York Times Oct 16, 2026 [González]'s performance has a magnetism that makes the story’s improbable circumstances feel real and alive. Go to Full Review La Bola Negra (2026) 87% - -

Beatrice Loayza New York Times Oct 16, 2026 The film is strangely watchable thanks to the sheer volume of curveballs and cameos, from a slinky Charli XCX performance to John Malkovich as a mad scientist with an indecipherable accent. Go to Full Review Sacrifice (2025) 35% - -

Alissa Wilkinson New York Times Oct 15, 2026 As the heart of the story, Edgar-Jones and Creed-Miles have a beautiful, sisterly rapport, turning what can be stock character traits — Elinor’s “sense,” or prudence, and Marianne’s “sensibility,” or emotionality — into three-dimensionality. Go to Full Review Sense and Sensibility (2026) 78% - -

Jeannette Catsoulis New York Times Oct 15, 2026 “Tenzing,” in its quietly empathetic way, makes sure we know who the real heroes are. Go to Full Review Tenzing (2026) 98% - -

Manohla Dargis New York Times Oct 15, 2026 The work that he did, including the material that he shot, and envisioned, for what became “Once Upon a Time in Harlem,” was a means of both artistic expression and political action, a way to turn stories into history, history into life. Go to Full Review Once Upon a Time in Harlem (2026) 100% - -

Natalia Winkelman New York Times Oct 15, 2026 Manipulation is a given in this brand of weepie, as essential to the formula as martyrdom. If love means never having to say you’re sorry, I won’t apologize for blubbering through this movie. Go to Full Review Love of Your Life (2026) 81% - -

Glenn Kenny New York Times Oct 15, 2026 While the narrative tends to the predictable, the performers are appealing, and McAvoy’s sardonic depiction of his home turf is tinged with exasperated affection. Go to Full Review California Schemin' (2025) 91% - -

Brandon Yu New York Times Oct 15, 2026 It simply feels like the natural zenith of an arcade player’s imagination, the “and then, and then” output of fighter fantasies running wild. By the end, you can practically see the ’90s kid smashing and kicking at the air on his way out of the theater. Go to Full Review Street Fighter (2026) 41% - -