Film

Werner Herzog's hypnotic documentary—which takes us into the Chau­vet Cave, where the oldest paintings known to humankind were discovered in 1994—is the first movie to suggest a convincing reason for the invention of 3D cinema.

Incendies is a disturbing layover at the crossroads of forgiveness and revenge. It's a challenging film on several levels. Not only is there a hearty helping of violence to be digested over the film's 130 minutes, but audiences must also wrestle with a complex narrative structure.

This invigorating documentary offers a poignant portrait of a life devoted to the pursuit of beauty. Cunningham, a photographer who documents fashion in his long-running New York Times column, is both an artist and a social commentator, though far too modest to describe himself as either.

In the latest First Things, David Bentley Hart skewers the thought of Ayn Rand. Yet only in a passing reference does he acknowledge the reasons for the renewed interest in Rand.

Dramatic adaptations of Char­lotte Brontë's Jane Eyre tend to go for romantic embroidery and Gothic grandilo­quence. But the new movie version feels pared down in all respects except the emotional. It has a piercing ferocity.

Mike Leigh's latest film is pared down but surpassingly elegant, like a superbly assembled piece of chamber music. But it has an unusual flaw.

In a post introducing Arts & Faith's list of the top 25 horror films of all time, Jeffrey Overstreet rightly observes that not all horror is created equal.

Not long ago, European religious cinema thrived. Now, religion typically appears in films only as a problem--and the solution to that problem is usually liberated sexuality.

Boxing movies are hardly ever about boxing. This one's real subject is the pull of family.

King George was terrified to be in front of a microphone. That's nothing compared to going head to head with the average North American congregation with nothing but three points and a poem.

This film about a couple struggling to cope with the death of their little boy has a limited imaginative reach. But the familiar can wield considerable power when the writing is honest and specific.

The third Narnia film features a new director, Michael Apted. The good news is that Dawn Treader is a worthy successor to Andrew Adamson's splendiferous earlier entries.