As the year winds down, we celebrate the films of Hollywood’s most high-profile female filmmaker, from her novel genre beginnings to her prestige political present.
Paul Bettany is fantastic in the title role, and about the only thing worth watching in Amazon’s interminable family drama.
Kaley Cuoco impresses as the flawed, complicated title role in HBO Max’s dark and witty comedy.
Kathryn Bigelow’s most recent film is a brutal, unblinking look at police brutality.
The composer returns to the podcast to discuss his third collaboration with Errol Morris and the challenges of recording scores during a pandemic.
Nearly eight years later, Zero Dark Thirty continues to court controversy by stubbornly refusing to argue for or against the lengths America took to find Osama bin Laden.
The remaining three bakers pull out all the stops to figure out which one gets the big title (and cake stand) at the end of this contentious season.
We meet an honest-to-god Jedi, and Baby Yoda finally gets a name, in an episode that links The Mandalorian even further to the rest of the Star Wars universe.
Michael Burnham finally figures out who she is, as the Vulcans and Romulans return to the Star Trek […]
Clea DuVall’s queer holiday rom-com makes the yuletide gay, but can’t escape the blind spots of its wealthy, white characters.
Alex Gibney’s latest dives into the work of criminal psychologist Dr. Dorothy Otnow Lewis, but can leave you with more questions than answers.
Netflix’s latest pop-star documentary is a bit too treacly and devoid of conflict to dig into the complexities of its young star’s career.
Alex Winter’s look at the multi-hyphenate is an expansive two hours bolstered by its unseen footage and stellar editing.
Kathryn Bigelow takes her innate sense of the mechanisms of masculinity into a sorely-overlooked Russian submarine drama.
Ron Howard’s adaptation of J.D. Vance’s bootstrapping rags to riches memoir is exactly what you’d expect.
FX and BBC’s adaptation of Rumer Godden’s 1939 novel is a well-acted and handsomely mounted, if baggy, miniseries.
Jennifer Leitzes’ only feature is an uneven genre piece with a good few moments, some thanks in part to Philip Seymour Hoffman.
The futuristic religious allegory set to a disco-rock soundtrack turns 40 this week, & must be seen to be believed.
The director and composer of the Jude Law-Carrie Coon drama The Nest sit down to talk about their collaboration.