The reviews are in and Star Trek Into Darkness, the second big screen adventure helmed by J.J. Abrams, has joined his 2009 reboot with critics’ phasers set on stunning.

If fashion is a religion, one of its sacred shrines is an emporium that takes up a whole city block on Manhattan’s Fifth Avenue, a store so venerated by devotees that a celebrated New Yorker cartoon had one matron confess to another, “I want my ashes scattered over Bergdorf’s.”

A barrel of whisky would usually spell doom for the working-class blokes who always find their way into Ken Loach films. But it is redemption the director and his longtime creative collaborator, writer Paul Laverty, have in mind in the unexpectedly warm, hopeful and humorous brew of The Angels’ Share.

In the fraught world of the silent film The Yellow Ticket, the heroine confronts anti-Semitism and moral hypocrisy, fights for survival and nearly dies before discovering her true identity and finding acceptance and happiness.

Victims’ relatives say action-comedy ‘Pain & Gain’ starring Mark Wahlberg and Dwayne Johnson trivializes a Dade couple’s murder.

The Americans. 10-11:45 p.m. Wednesday. FX.

“The movies are dead.” That was the mantra of some popular film writers in 2012. They fretted that movies no longer mattered, that they had been replaced by long-form TV narratives at the water cooler, that they were so empty and disposable they didn’t leave you with anything to talk about.

Nobody Walks is one of those fish bowl films: an idea is tossed in like a crumb, then we wait and watch what happens.

For 50 years we’ve rooted for 007. But as long-time fans of the spy series know, a James Bond film rises or falls on the quality of its villain.

The best scene in Flight comes early and will undoubtedly stay with you a good long time: A commercial pilot (Denzel Washington) tries to land a crashing plane full of terrified passengers in a field near Atlanta. It’s a horrifying, nauseating, expertly shot sequence that is bound to send nervous fliers off in search of a Xanax prescription the next time they have to board a plane.

It took an international production starring a Puerto Rican and a Frenchman to bring the Native American tale "Jimmy P.: Psychotherapy of a Plains Indian" to the big screen.

Associated Press journalists open their notebooks at the 2013 Cannes Film Festival:

Two directors from countries with tough film censorship brought bold and probing movies to the Cannes Film Festival on Friday - one exploring China's social problems, the other delving into the mysteries of the human heart.

Before "Fruitvale Station," Michael B. Jordan was glimpsed sporadically in supporting roles on TV shows like "The Wire" and "Friday Night Lights," and in films like "Chronicle" and "Red Tails."

Before "Fruitvale Station," Michael B. Jordan was glimpsed sporadically in supporting roles on TV shows like "The Wire" and "Friday Night Lights," and in films like "Chronicle" and "Red Tails."

Thieves ripped a safe from the wall of a hotel room near the Cannes Film Festival and made off with around $1 million worth of jewelry, in a brazen late-night burglary just hours after the screening of a film about break-ins at the homes of Hollywood celebrities, French officials said Friday.

Director J.J. Abrams steers the USS Enterprise in a surprising direction in ‘Star Trek Into Darkness.’

At the start of Iron Man 3, the usually loquacious billionaire Tony Stark (Robert Downey Jr.) is off his game. Having learned of the existence of aliens and alternate universes in The Avengers, Stark is suffering from post-traumatic stress syndrome. He’s had his mind blown, and he’s having trouble readjusting. For Christmas, he buys his girlfriend Pepper Potts (Gwyneth Paltrow) a stuffed rabbit the size of a small building. When a terrorist known as The Mandarin (Ben Kingsley) starts making threats on live TV and blowing up bombs, Stark gives his home address to a news crew and challenges the villain to attack him — which he does.

I can pinpoint the exact moment when I mentally checked out of Terrence Malick’s torturous To the Wonder and started thinking “Wankage!” It was the scene in which Ben Affleck and Rachel McAdams are standing in the midst of a bison herd and nuzzling romantically, like love-struck horses. “What if the animals suddenly started to stampede?” I thought. “Are they being careful where they step? What are they doing in the middle of a herd of bison, anyway? Wouldn’t it stink to high heaven there? Couldn’t they get a room?”

Sequels, giant robots and superheroes are hurtling our way.

The documentary ‘Room 237,’ which explores the bizarre theories surrounding the 1980 horror classic, is being screened as part of a Stanley Kubrick retrospective at O Cinema Wynwood.

Director Michael Bay uses humor to recount an incredible story involving bodybuilders, drugs and murder.

For its first hour or so, Oblivion is a visually mesmerizing, intriguing picture that doesn’t feel like the same-old: It engages your eyes and piques your curiosity. Then, gradually, the novelty wears off, the clichés start to pile up and we’re back to Post-Apocalyptic Dystopia 101. In his follow-up to TRON: Legacy, director Joseph Kosinski, with the aid of Oscar-winning cinematographer Claudio Miranda (Life of Pi), crafts some dazzling images and beautiful designs (the movie was shot using 4K cameras and enormous rear projections instead of green screens; see it in IMAX if you can). He also teases you with the story, letting you know right from the start things may not be what they seem.

The Place Beyond the Pines, the new film by the director of Blue Valentine, does not lack for ambition. Beginning with its bravura opening shot — an uninterrupted take of Luke (Ryan Gosling), a motorcycle stunt rider, as he dresses in his tent and walks through a carnival to the stage where he’ll be performing — director Derek Cianfrance lets us know he’s working on a larger canvas. But while the scope of the movie is bigger, its impact is smaller. Blue Valentine was a precise, heartrending portrait of a marriage coming apart at the seams. The theme of his new movie is a lot harder to discern.

One person believes The Shining was Stanley Kubrick’s commentary on the Holocaust. Another points out clues that reveal the film is really about the genocide of Native Americans.

Where The Artist paid loving homage to the past with a wink to the present, Pablo Berger’s Blancanieves, a radical reimagining of the Snow White fairy tale, is the genuine article: a black and white silent film, set in 1920s Spain, that uses the camera tricks and effects of the era and almost never cheats. What’s more, unlike Hollywood’s recent plunderings of classic fables for modern audiences (Hansel & Gretel: Witch Hunters, Snow White and the Huntsman, Red Riding Hood), Blancanieves is a true adaptation and not an appropriation. The film uses the Brothers Grimm story as a foundation for an original story, although most of the iconic elements are accounted for (the wicked stepmother, the poisoned apple, etc.).

When The Evil Dead invaded movie theaters in 1983, it detonated an atomic bomb on a stale horror-film genre overrun by masked killers and teen slashers. Made on a tiny budget, sporting Stephen King’s personal seal of approval and released unrated for its violence, the movie launched the careers of actor Bruce Campbell (Burn Notice), director Sam Raimi (Spider-Man) and producer Robert G. Tapert (TV’s Spartacus: War of the Damned). Watching it in a theater was a riotous experience: The audience screamed and laughed and gasped in shock at the situations these unknown filmmakers had conjured up, making Freddy and Jason and Michael seem like schoolyard wimps.

Original director Sam Raimi and producer Bruce Campbell took a hands-on approach to the remake, directed by Fede Alvarez.

“Spring break forever!” is the mantra constantly spouted by Alien (James Franco), a drug-dealing thug whose goal in life is to be bad, always do the wrong thing and make money. Alien sports grill in his mouth, his hair dangles in ugly cornrows and his body is covered with tattoos (including a giant dollar sign on his neck). Above his bed hangs an arsenal of shotguns, pistols, swords and nunchuks. He keeps Scarface playing on a perpetual loop on his TV. And when he sees four college girls (Selena Gomez, Vanessa Hudgens, Ashley Benson and Rachel Korine) being sent to jail after getting arrested in a raid, he pays their bail and takes them under his evil wings. He becomes their Svengali figure — a Peter Pan for these lost girls overcome by the craziness of St. Petersburg during spring break. Some of them won’t be able to keep up with him, though.