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When considering the best thrillers ever made, youâll encounter many different kinds of thrills: from political intrigue and espionage to conspiracy, manipulation, gaslighting, and, of course, lots and lots of crime. As a movie genre, the thriller is also loosely defined â under its umbrella, youâll find examples of science fiction, horror, heists, action, even comedy, along with the ever-nebulous âpsychological thrillerâ subdivision.
The exact definition of a thriller may be hard to pin down, but you know one when youâre watching one. Youâll feel it, too â in your clammy palms and under your armpits, in your teeth as you grind down the enamel and your restless leg. When done right, a thriller prompts a visceral response more than just about any other genre. Here are a hundred great thrillers guaranteed to make you sit up, widen your eyes and leave your head spinning.Â
Written by Abbey Bender, Joshua Rothkopf, Yu An Su, Phil de Semlyen, Tom Huddleston, Andy Kryza, Tomris Laffly & Matthew Singer
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At this point, Wes Anderson needs no introduction, nor do many movie fans need to be convinced how to feel about his work. Either you find his delicate, immaculate world-building good enough to eat, or you react to his twee sensibilities with nausea. No matter where on the spectrum you fall, though, Anderson is one of the most distinctive filmmakers of his generation, if not all-time. With his twelfth feature, the ensemble spy comedy The Phoenician Scheme, ushering in the 2025 summer movie season, weâve ranked his movies from worst to best â and despite his detractorsâ claims, his films are different enough to distinguish between. Â
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Becoming champ is one thing, staying there is something else altogether. Thatâs the challenge faced by the once all-conquering MCU and its belt-wearing head honcho Kevin Feige, for whom the glory days of Avengers: Endgame are now a distant memory. And itâs not the DCEUâs pale imitation that presents the big threat â even with ex-Guardians of the Galaxy director James Gunn in charge. The passing of time and changing tastes demands bolder swings than much of Phase 5 provided, although itâs just possible that the infectious, daring Thunderbolts* is the start of something fresh. In truth, though, even in its glory days, not all Marvel movies were created equal. For every box-office-dominating event picture, the studio would churn out a few inessential space-fillers. So while we wait to see if The Fantastic Four: First Steps and Avengers: Doomsday manage to properly reset the franchise, we decided to see whatâs worked best and what has fallen flat by ranking all 36 official MCU flicks released so far. As the list demonstrates, the glory days are still where the gold/vibranium lies.
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As far back as anyone can remember, the movies have loved gangsters â and itâs not hard to understand why. Who hasnât fantasised about living outside the law, of having money and influence, of being untouchable? Sure, all the immoral behaviour is a bit unsavory, and the crushing paranoia that comes along with the lifestyle seems like a major drawback. But getting to live vicariously through the criminals we see on screen is one of cinemaâs purest thrills.Â
But not all movie gangsters are built the same. Some are loud and boisterous, others cold, calculating and unreadable. From fedora-sporting mobsters to pistol-packing yakuza enforcers, to street-level bosses whose empire only extends to the end of the block, cinema has seen them all and told their stories â and youâll find all of them on our definitive list of the best gangster movies of all-time.
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Great movies matter. Movies have the capacity to sharpen our understanding of the world. They take us places weâd otherwise never go, and introduce us to people weâd otherwise never meet. Or they reflect our own lives back at us, and help us understand ourselves a little better. They simply allow us to place reality on pause for a few hours, which, in this day and age, should not be discounted. Thankfully, there are signs that movies still do matter, even for a generation thatâs grown up watching them mostly through the television, like Letterboxd, or the growing popularity of repertory cinemas. And that is ultimately what compels us to list the greatest films of all-time. Itâs not to assert our own canon, or spark quibbles about snubs and arbitrary rankings. Itâs because new film fans are still being born every day, and need a place to start. So consider this a road map.
Jump to list: 100-91 |Â 90-81 | 80-71 | 70-61 | 60-51 | 50-41 | 40-31 | 30-21 | 20-11 | 10-1
How we chose our 100 best movies of all time
Admittedly, the process is not an exact science. Mostly, it involves a bunch of arguing, whittling and deal-making amongst Time Outâs most movie-obsessed writers, and then voila: a top 100 everyone is kinda sorta happy about! In terms of why we chose what we chose, thatâs just as messy and multivarious. Sometimes, itâs for historical achievements, either technically or thematically. Other times, itâs simple obviousness: are you really not going to have The Godfather and Ci
Movies always find a way. Itâs no secret the 21st century has so far been rough on cinema, between internet piracy, the pandemic, the strikes, the rise of streaming, etc. But while movies may no longer exist at the center of culture, over the first two decades of the new millennium, filmmakers have innovated at a more rapid clip than ever before: genres have been mixed, matched and completely exploded; more diverse stories are being told; blockbusters have reached unfathomable hugeness, and the smallest, strangest indies have won awards and reached vast audiences.Â
If cinema in the 21st century has been defined by tumult, itâs also exemplified the ability of those most dedicated to the medium to rise to the moment. These 100 movies represent the best of the last quarter-century so far.
Written by David Fear, Joshua Rothkopf, Keith Uhlich, Stephen Garrett, Andrew Grant, Aaron Hillis, Tom Huddleston, Alim Kheraj, Tomris Laffly, Kevin B. Lee, Karina Longworth, Maitland McDonagh, Troy Patterson, Nicolas Rapold, Lisa Rosman, Nick Schager, Phil de Semlyen, Matthew Singer, Anna Smith, S. James Snyder.Â
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Action is one of cinemaâs most misunderstood genres. Among highfalutin cineastes, action movies are too often considered trashy, low-brow junk food, replacing all story and substance with eardrum-shattering explosions and mindless violence. In a lot of cases, that characterisation is certainly true. But anyone whoâs ever allowed their senses to get shattered by the booms, blasts and breaking bones of a truly great action movie knows that there are few moviegoing experiences that can compare. Â
Also, not all action movies need to be loud and dumb. The right director can choreograph violence with almost balletic grace, while the right actors actually make you care about the person trying to outrun the bullets and the bombs. This list of the greatest action films ever made is proof that the genre is more versatile than it appears. We polled over 50 experts in the field, from Die Hard director John McTiernan to Machete himself, Danny Trejo, along with Time Outâs writers, and the results show just how awesome and unique the best action movies can be when done correctly.
Written by Eddy Frankel, Eddy Frankel, Yu An Su, Joshua Rothkopf, Trevor Johnston, Ashley Clark, Grady Hendrix, Tom Huddleston, Keith Uhlich, Dave Calhoun, Phil de Semlyen, Dave Calhoun and Matthew Singer
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The camera loves New York, and New York loves the camera. Since the dawn of cinema, filmmakers have flocked to its streets, using the cityâs mythic stature as a backdrop for tales of crime, passion, building-smashing monsters and whatever else. So many movies are set in the Big Apple that putting together a list of the best ones seems a little silly: isnât this just where movies are made?
Whatâs rarer, though, are great movies that are actually about New York â those which try to say something about what makes the place so endlessly fascinating, and why so many people take on the mythic challenge of trying to make it there. In our estimation, these 101 films do just that.
Written by Melissa Anderson, David Fear, Stephen Garrett, Joshua Rothkopf, Andy Kryza, Keith Uhlich, Alison Willmore and Matthew Singer
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Fred Rogers captivated generations of Americaâs kids with his TV show âMister Rogersâ Neighborhoodâ. He didnât sugar-coat things, coaxing his young viewers through even the tough stuff like Vietnam and civil rights. Imagine Andi Peters presenting âNewsnightâ using animal puppets as props, and youâll get the idea.
Unfortunately, âA Beautiful Day in the Neighborhoodâ canât quite match up the easy charms of the cheap-and-cheerful TV programme itself. Thereâs no impulse to explore the complexity of this strangest of celebrities â a gifted listener and child whisperer who calmed adults just as effectively. Tom Hanks, in his twinkly-eyed wheelhouse as Rogers, is a winning presence in a supporting role, while Esquire writer Lloyd Vogel (Matthew Rhys) becomes the movieâs surrogate kid. Heâs swamped by a toxic relationship with his estranged dad thatâs distracting him from his big interview with Rogers. You can easily predict what follows.
It may be that successful real-life journo Tom Junod, on whom the Lloyd character is based, lacks real drama. And a bolder movie would have included Rogersâs late-career triumph, when he turned post-9/11 anxieties into a teachable moment. âAnything mentionable is manageable,â Hanks offers in the filmâs wisest words. Itâs good advice, though the emotions here could have done with being a bit wilder.Â
Itâs taken him three films, but over the course of those indies, writer-director Trey Edward Shults has ruined Thanksgiving (2015âs excruciating domestic psychodrama âKrishaâ) and spoiled the world with plague (the majestically paranoid âIt Comes at Nightâ). Now, with âWavesâ, he obliterates a hardworking Florida family before delivering some nearly cosmic forgiveness in the movieâs second half. All of his films feel like personal exorcisms â Shults may best be described as a non-supernatural-horror director â but this one is a true breakthrough.
Shults has a signature shot in which his camera rotates like the searching eye of a lighthouse, and âWavesâ exploits it beautifully. Itâs how we meet the black high school wrestler Tyler (Kelvin Harrison Jr, impressively precise on his characterâs steep decline), cruising in the car with his girlfriend. Shults takes in the happy moment with his swirling camera: Tyler swaddled in his middle-class comforts, with their attendant crush of expectations. Over the coming weeks, several bad things will happen to Tyler, a few of which are made infinitely worse by his own impulsive actions and confusion. âWavesâ turns this descent into an extended run of Job-worthy misfortune.
âWe are not afforded the luxury of being average,â says Tylerâs father (Sterling K Brown, taut with concern), but apart from that line, âWavesâ doesnât play like a statement on race so much as an indictment of the Kanye-scored, dumped-via-text pressure cooker that is bei
âNever underestimate a droid,â we hear several times in the new âStar Warsâ â and why would you? For the most part, droids are hard-headed, sturdy companions, opening doors at the last minute with a minimum of beepy fuss. Director JJ Abrams is like a droid. He revived this brand from his childhood memories, unarchiving it from his data banks and dutifully projecting it, just like Artoo does with Leiaâs hologram in the 1977 original. Abramsâs âThe Force Awakensâ (2015) was a pitch-perfect summoning of old magic: thrilling and nostalgic, even if the trick remained stubbornly unimaginative. But Rian Johnsonâs follow-up, âThe Last Jediâ (2017), executive-produced by Abrams, was something else entirely, subversive and churning with dark emotions. The franchise didnât deserve it.
Now Abrams the droid is back, scurrying around to clean up those untidy messes that made things interesting for a parsec. âThe Rise of Skywalkerâ marks the return of a plodding dullness, the kind that George Lucas peddled with his second trilogy, laden with pointless plot curlicues, witless imperial intrigue and boring heroism. It feels like a massive retrenchment â privately, a rebellion seems to have been fought and lost â and only the most loyal fans will be happy about it. Right from the start, you feel the soft reboot: ghostly zombie destroyers rise up out of a planetâs dirt, not quite vanquished. Will this new First Order prevail? Scarfaced Kylo Ren (Adam Driver) tear-asses around in his TIE fighter,
This morning in Los Angeles, nominees for the 92nd Academy Awards were announced. Some history was made: Scarlett Johansson received not one but two acting nominationsâher first two everâin separate categories (the last time that happened was in 2007 with Cate Blanchett). Also receiving two nominations was Cynthia Erivo for her galvanizing performance in Harriet, as well as for that film's original song. It's a good thing Erivo was a part of this morning's conversation, because apart from her, there wasn't a lot of diversity on display. Both Hustlers' Jennifer Lopez and The Farewell's Awkwafina failed to make the cut, despite huge support. Snubs are always in the eye of the beholder; I'd say omitting Apollo 11 for Best Documentary Feature feels like a mistake, and it's a crime not to have included Greta Gerwig for Best Director (Little Women did well elsewhere, including acting nominations for Florence Pugh and Saoirse Ronanâreceiving her fourth nom at age 25). Regardless, it's thrilling to see Bong Joon-ho's Parasite earn several major nods, including Best Picture and Best Director. Elsewhere, Robert Eggers's black-and-white fantasia The Lighthouse was nominated for Best Cinematography, a happy surprise. We'll be watching for any BaumbachâGerwig tensions. The Oscars air Sunday February 9 on ABC. Here's a complete list of this morning's nominees:
Best PictureFord v FerrariThe IrishmanJojo RabbitJokerLittle WomenMarriage Story1917Once Upon a TimeâŠin HollywoodParasite
Best Dire
In an Oscar season crowded with contenders, Netflix has done a killer job of showing off its shiniest objects. Even as its post-awards plans for the Paris Theatreârecently saved from closureâremain uncertain, the streaming service is staking real-world territory elsewhere, as last seen with Netflix's Little Italy takeover for The Irishman. Now, beginning today, the public can view "The Netflix Film Experiences in Dolby," a free two-floor exhibit of costumes, script pages and video clips assembled over several rooms at Dolby SoHo (477 Broadway). The show is open to the public from 1â8pm Wednesdays through Sundays until January 26.
What awaits film fans? Four movies are showcased and, to be honest, some rooms are more fun than others. Was Al Pacino's performance as hot-blooded Jimmy Hoffa in The Irishman not quite big enough for you? Attendees can immerse themselves in an installation where he's yelling at you from multiple screens. Ever wanted to get up close and personal with some papal outfits? Costumes from The Two Popes are on display.
More excitingly to these eyes: There's a lower level fully pimped out with '70s-era finery from Dolemite Is My Name. You can't actually see the Eddie Murphy comedy in a single New York City cinema at the moment (apart from your own Netflix account) but paradoxically, this exhibit has created a temporary public space for the movie's supercharged energy. Finally, find the quiet nook where a loveseat will let you and your significant other watc
Only moments ago, nominees for the 77th Golden Globes Awards were announced. Awards prognosticators got a few surprises: Cate Blanchett scored a nod for the little-seen Whereâd You Go, Bernadette; Joker's Todd Phillips beat out Marriage Story's Noah Baumbach for a directing nomination; and Cats scored for its original song (which we hated). But the Oscar picture is beginning to take shape. Awkwafina is looking like a lock for The Farewell, which thrills us, as is Antonio Banderas for Pain and Glory (a winner with the New York and Los Angeles critics groups). Meanwhile, the television nominations were appropriately Fleabag-heavy, which is all we care about. The Globes will be broadcast January 5, 2020 on NBC beginning at 6pm ET. Here's the complete list:
Best Performance by an Actor in a Limited Series or Motion Picture Made for TelevisionChristopher Abbott, Catch-22Sacha Baron Cohen, The SpyRussell Crowe, The Loudest VoiceJared Harris, ChernobylSam Rockwell, Fosse/Verdon
Best Performance by an Actress in a Limited Series or Motion Picture Made for TelevisionKaitlyn Dever, UnbelievableJoey King, The ActHelen Mirren, Catherine the GreatMerritt Wever, UnbelievableMichelle Williams, Fosse/Verdon
Best Television Limited Series or Motion Picture Made for TelevisionCatch-22ChernobylFosse/VerdonThe Loudest VoiceUnbelievable
Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for TelevisionPatricia Arquette, The ActHelena Bonham Carte
Unveiling a new song, a new album and some of the old woozy indiscipline that hamstrung their ascent nearly 20 years ago, the Strokes extended the most leisurely paced comeback in rock, delighting their hometown fans at Brooklynâs Barclays Center last night. The chiming, seesawing, faintly sad âOde to the Metsâ arrived after a lengthy band conference, several of which plagued the show (ever hear of a set list, guys?). The new song didnât sound like a galvanizing rebound so much as a grandly emotional closer: a future final-dance prom request.
Maybe it will be placed near the end of the forthcoming 2020 release that frontman-songwriter Julian Casablancas teased as âcoming out soon.â He offered no further details, adding, âThe 2010s, whatever the fuck theyâre called, we took them off, but now weâve been unfrozen and weâre back.â
The band still sounds like a paradox: coiled guitar riffs and spring-loaded bass lines under a tinny, debauched drunk dial. When the band used its New Yearâs Eve gig (a makeup show after Juneâs rained-out Governors Ball) as a delivery device for multiple tracks off 2001âs classic Is This It, the crowd exploded. Thereâs simply no improving on songs like âThe Modern Age,â âHard to Explain,â âLast Nite,â âBarely Legalâ and the post-9/11 controversial âNew York City Cops,â the latter receiving its own red-and-blue police light show during the choruses. Things came to a halt during the ball drop, the broadcast piped through on the monitors like a glitzy tran
As the decade comes to a close, weâre in a reflective mood (remember Avatar?âyeah, us neither). The result is a list: the 50 best movies of the 2010s, which will no doubt come in handy next time youâre browsing your streaming service of choice. Returning to these films was enormously fun. Ranking them? Not so much. But we did it.
Along the way, we asked some of our favorite directors and actors for their picks from the 2010s. Hereâs what they told us:
Cold War, as picked by Benedict Cumberbatch:âIt was such a sad and achingly honest story of love and how destructive and tragic it can be. It was beautifully shot and used all the power of cinema in its framing and acting without wordsâand when the words came, they were arresting and surprising and dangerous and unexpected. It's painfully romantic, as well as being painful. It's really truly great cinematic storytelling. I was completely immersed in that world and that relationship. Pawel Pawlikowski is an incredible filmmaker.â
The Death of Stalin and Get Out, as picked by Taika Waititi, director of Jojo Rabbit:âI really loved The Death of Stalin because it was smart. Also, I loved the decision to let the actors use their normal accents, because it didnât make any difference to me. I was still shocked and I still found it fascinating and enthralling. The other film I really loved was Get Out, which was the only film in my entire life that Iâve actually yelled the title of the film at the film: âGet out!â â
The Tree of Life, as
We won't lie: Generally, we like to watch holiday movies at home, preferably armed with egg nogs, hot toddies, cocoa, blankets or any convenient warm body (pets will do). But sometimes, other people are just what the doctor ordered when you're getting pounded by relentless Christmas cheer. Here's a list of the very best holiday screenings on offer in NYC theaters over the next several weeks. Note: We said "very best," which makes our list both naughty and nice. These shows should sell out fast, so buy your tickets now.
Black ChristmasJoin the horror cognoscenti and bow to Bob Clarkâs atmospheric sorority-house stalkerâa huge influence on John Carpenterâs Halloween and other âthe call is coming from inside the houseâ thrillers, but nowhere near as well known. Itâs getting a new remake (the second one in 13 years), but begin here.Alamo Drafthouse, Downtown Brooklyn (drafthouse.com). Tue 17 at 9:30pm; $12.
CarolOur favorite new Christmas classic returns to the Metrograph in 35mm. Working for the first time with material developed by another screenwriter, director Todd Haynes transforms an underappreciated 1952 Patricia Highsmith novel about secret lesbian love into a universal romance. Once youâve seen Rooney Mara in a Santa hat, thereâs no turning back.Metrograph, Lower East Side (metrograph.com). Fri 20 at 5:45pm, Sat 21 at 1:45pm; $15.
Christmas with Louis ArmstrongSure to be magical, this bespoke 90-minute compilationâmade exclusively for Film Forumâgathers Satchmoâs many mo
You've read Martin Scorsese's take on Marvel movies. You've argued about it. You've even watched the Cats trailer (maybe a few times, in stupefied silence). But have you seen The Irishman yet? Come on, people. Not only do we recommend it, but we know that three-and-a-half hours isn't a big deal to you, say when it comes to committing to The Crown or whatever. It's Marty and you're a New Yorker. Consider it homework.
Today, Netflix released a new trailer for The Irishman and it's extremely well-done, glancing on much of the complexity of the film: the violence, guilt and recrimination of mob life. Here it is:
But nothing will bring you into the universe better than what Netflix has planned this weekend for Little Italy. On Friday and Saturday from 9am to 7pm, the streaming service will be taking over five blocks of the neighborhood and back-dating them to August 1, 1975, the day after Jimmy Hoffa was reported missing. Here's what Netflix has released about it:
Courtesy of Netflix
What does this mean for you? It means you're going to encounter surprises, old cars, newspapers, maybe even some gangster dramatics. If you "tell 'em Jimmy sent you" (that's the secret catchphrase), you'll be able to collect free food and drinks from some of the tastiest restaurants in the area, like Parm and Ferrara Bakery & Cafe. Here's a map of the participating shops:
Courtesy of Netflix
And Netflix will no doubt make sure that everyone leaves with a bit of swag from the movie itself, just as
Is it any surprise that director Noah Baumbachâwhose new movie, Marriage Story, is a bruising tour de force and opens todayâloves our favorite LES theater, the bespoke Metrograph? âAlthough the Metrograph is only three years old, it feels already like a New York institution,â writes the director in program notes detailing his upcoming six-week residency at the movie house beginning this Friday. During that span, all of Baumbachâs narrative features will be screened (but not his insightful 2015 documentary profile, De Palmaâwhat gives, Metrograph? It can still be addedâŠ). Some of these presentations will either be introduced by the filmmaker or followed by Q&As, turning his residency into a de facto master class.Â
Intriguingly, Baumbach has also picked several âcompanionâ films (in his words, âmovies that I love, that have somehow informed my work as well as my lifeâ) to play as double features: Ăric Rohmerâs Pauline at the Beach after Margot at the Wedding; the generationally-themed Working Girl after While Weâre Young; other choices that are too good to ruin. He's even found room for E.T. The takeaway is a nuanced appreciation of a particular artistâs sensibility, one steeped in encyclopedic Gen-X scholarship but with room for detours into beloved mid-budget Hollywood movies and NYC-set indies. For many who have cherished Baumbachâs work for years, the residency will feel like a coronation. And for those who have yet to experience one of his films, itâs going to be a sceneâe
We haven't seen anyone camping out on the street yet for tickets, but trust: Martin Scorsese's fans are palpitating in advance of this Friday's theatrical release of The Irishman. Beginning November 1 at these participating theaters only, the three-and-a-half-hour gangster epic (which we enjoyed) will play for crowds until Netflix begins streaming it Thanksgiving weekend, at which point all bets are off.
Will the movie give you that Marty feeling? Yes. Will it remind you of Goodfellas or Mean Streets? Somewhat, but not always. A decades-spanning drama, The Irishman spends a fair amount of time in Pennsylvania, Washington, D.C., and Florida. It's not as New York-centric as some of Scorsese's other films, like The King of Comedy or Taxi Driver.
But one scene that is undeniably NYC is Scorsese's re-creation of the infamous 1972 mob hit on Joe Gallo at Umberto's Clam House, then located on the corner of Mulberry and Hester Streets. (After closing shop in the late '90s and reopening, Umberto's is now two blocks north.) During one night in November 2017, Scorsese aged a block on the Lower East Side, transforming it into the famous intersection.
Here's a screen grab from the trailer that shows the scene in question:
Elsewhere in the movie, Long Islanders will be able to catch Hildebrandt's, the beloved Williston Park ice cream shop. It figures prominently in a key scene in which the characters hear about the Kennedy assassination. Will any other Irishman locations become as famous
Looking to qualify its soon-to-be-streaming titles for Oscars, Netflix continues to successfully book alternative theatrical options: Two weeks ago came the news that Martin Scorsese's The Irishman would take residence at Broadway's Belasco Theatre. Now we're hearing that the Paris Theaterârecently shuttered in August after more than seven decades (Marlene Dietrich cut the inaugural ribbon in 1948)âwill reopen for a brief run of Noah Baumbach's five-star-excellent Marriage Story, beginning Wednesday, November 6.
It remains unclear how long the Paris will stay open. Regardless, fans of the elegant single-screen theaterâon the opposite side of 58th St. across from the Plaza Hotelâsee this as a win. It may even be a better solution than the Belasco: At 581 seats, the Paris has roughly half the space, but it does have a romantic balcony and will be able to host multiple daily screenings to the Belasco's single showing. Moreover, it brings Baumbach's distinctly NYC vision to those who want to see it with a crowd.
Insisting on tough terms when it comes box-office receipts, Netflix is finding it hard to strike deals with chains like AMC and Regal. But individual movie houses seem ready to engage: Here is a complete list of theaters where you can go see The Irishman. (We strongly prefer IFC Center's cushiony seats to the Belasco's butt-numbers, and the Scorsese is a full three-and-a-half hours without intermission.) Marriage Story, too, will have alternate options beyond the Parisâa