Chew on this, movie lovers: The Malco Ridgeway Four is being “rebranded” as the Malco Ridgeway Cinema Grill.

Fearless and flamboyant, the late William Kendall was an outspoken champion of art cinema and gay pride at a time when both concepts were met with suspicion or even hostility by most Memphians.

Dishonorably discharged male War on Terror vets menace attractive female campers in “Black Rock,” a photogenic Maine-set shocker that seems to have been motivated by a desire to craft a commercial thriller with an indie aesthetic — and budget.

“Lore” is a coming-of-age story in an extreme context. The title character, Hannelore (Saskia Rosendahl), a pretty teenager, is the daughter of Nazis, forced to become a surrogate mother to the three siblings she leads through the Black Forest after ...

Sprawling, even meandering, the 146-minute movie version of Salman Rushdie’s 1981 Booker Prize-winning novel “Midnight’s Children” is faithful to its source to a fault — probably because Rushdie himself wrote the script, with director Deepa Mehta.

“Peeples” is straight-up sitcom, which is not necessarily a bad thing.

Poor Ariel. He’s talking to hotties in a late-night dance club in Valparaíso, Chile, when an earthquake hits, crushing a hostess before he even can get her number.

“Disconnect” is “Crash” for the age of social media.

In F. Scott Fitzgerald’s 1925 novel “The Great Gatsby,” “the eyes of Doctor T. J. Eckleburg” are a symbol of God or fate or some other mysterious presence.

Original and extraordinary, writer-director Shane Carruth’s “Upstream Color” may represent a milestone in true independent cinema, or at least a steppingstone between the smart microbudget work signified by its star, Amy Seimetz, and the more grandiose aspirations associated with someone ...

Yes, it would be easy to spoof or deride “To the Wonder.” Terrence Malick’s new film eliminates the dinosaurs, the tough Texas kids and Jessica Chastain — the things many viewers most enjoyed in the director’s previous film, “The Tree ...

The 16th annual Indie Memphis Film Festival begins this year on Halloween.

Robert Redford’s “The Company You Keep,” a sympathetic look at the wrinkled radicals of the 1960s, expands this weekend into Memphis and some other markets less than two weeks after the Boston Marathon bombings.

“Mud” has the feel of a classic, although it’s perhaps not enthralling enough to be one. The third and most elaborate feature to date from writer-director Jeff Nichols seems to have been adapted from a novel that doesn’t exist.

If ambition, purpose and potential impact netted Oscars, “Girl Rising” might be the most honored film in Academy history.