Christopher Orr is a senior editor and the principal film critic at The Atlantic. He has written on movies for The New Republic, LA Weekly, Salon, and The New York Sun, and has worked as an editor for numerous publications.
In which I am finally, inevitably, disappointed
An overdue love letter to the extraordinary meta gangster movie
Come for the infant abduction, stay for the yodeling.
Revisiting the lethal cunning of the filmmakers’ debut
Director Daniel Schechter and star Jennifer Aniston offer up a middling adaptation of Elmore Leonard's novel The Switch.
Timothy Olyphant, star of TV’s Justified, reads a passage from the 1976 novel Swag.
Apart from a vivid turn by Eva Green, Robert Rodriguez and Frank Miller's long-delayed sequel lacks the stylish excess of the original.
Marvel's latest—and largest—gamble makes up for its haphazard storytelling with wit and warmth.
An extended spoilereview of Luc Besson's worst film to date
Richard Linklater's latest experiment has more to say about parenthood than about its titular subject.
The evocative, performance-capture apes of Andy Serkis and co. make this one of summer's most satisfying movies.
Director John Carney attempts to recapture the magic of his 2007 charmer Once, with somewhat mixed results.
Michael Bay's latest installment is ridiculous, ill-humored, and—at nearly three hours—the most interminable yet.
Our roundtable on "The Children," the 10th episode of the fourth season of the HBO show.
Jonah Hill and Channing Tatum deliver an improbably good sequel to an improbably good reboot.
Our roundtable on "The Watchers on the Wall," the ninth episode of the fourth season of the HBO show.
Director Doug Liman imbues the Groundhog-Day-meets-Starship-
Our roundtable on "The Mountain and the Viper," the eighth episode of the fourth season of the HBO show.
A rookie director, flimsy script, and way too much CGI doom Disney's revisionist fairy tale.
What’s (probably) in store for the final episodes
In Focus