 The Current Cinema How “Oppenheimer” and “Barbie” Bring Monumental Figures to Life Christopher Nolan sets the physicist in a swirl of Cold War conspiracy, and Greta Gerwig tries to imbue a story about the doll with a feminist critique of capitalism. By Anthony Lane |  The Current Cinema Grand Appetites and “Poor Things” In Yorgos Lanthimos’s film, Emma Stone plays a young woman who was created by a scientist, and is forever tasting the world—eating, dancing, travelling, having sex—as if it were freshly made. By Anthony Lane | |
 The Current Cinema “Anatomy of a Fall” Is a Magnificently Slippery Thriller In Justine Triet’s film, starring Sandra Hüller and Samuel Theis, a marriage and a death are subject to the minutest scrutiny. By Anthony Lane |  The Current Cinema Celine Song’s “Past Lives” Is a Calm but Moving Début This story of childhood friends from Seoul who reunite as adults in New York is less a love story than a meditation on transplantation and transience. By Anthony Lane | |
 The Current Cinema “The Zone of Interest” Finds Banality in the Evil of Auschwitz Jonathan Glazer’s film about the family life of the Nazi commandant Rudolf Höss is calmly composed and fiercely controlled. By Anthony Lane |  The Current Cinema “Maestro” Is a Leonard Bernstein Bio-Pic as Restless as Its Subject Bradley Cooper stars in his own film about the great conductor-composer, but it is Carey Mulligan, as Bernstein’s wife, Felicia, who walks away with the movie. By Anthony Lane | |
 The Current Cinema Dramatic and Moral Ambitions Clash in “Killers of the Flower Moon” Martin Scorsese’s epic about the Osage murders honors Indigenous suffering, but the action keeps getting pulled back into the orbit of the white, male perpetrators. By Anthony Lane |  The Front Row The Nineteen-Seventies of “The Holdovers” Is Conveniently Sanitized There’s something appealing about the nostalgia of Alexander Payne’s film, but also something contrived. By Richard Brody | |
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