The latest episode tries to be a corridor-chasing lark and a climate change allegory and fails mightily at both.
Author: Clint Worthington
The composer of M. Night Shyamalan’s Apple TV+ thriller talks about the twists and turns of his unsettling score.
Tiffany Haddish, Rose Byrne and Salma Hayek glow up an otherwise-dire January comedy about fashion and friendship.
Sam Mendes’ WWI epic is an astounding technical achievement, but loses its soul on the way to razzle-dazzle.
Apollo 11 composer Matt Morton discusses how he used period-appropriate synthesizers to craft a tense score to mankind’s first walk on the moon.
A spotty first half turns into a thrilling, crackerjack conclusion, and a startling set up for the new season.
We ring in 2020 by celebrating the birthday of independent cinema’s rockabilly godfather.
The long-running BBC series returns for a rushed, flashy season premiere with an audacious twist that might just turn the show around.
From the first time we meet Baby Yoda to the final trek of the Razor Crest, we look back at the highs and lows of The Mandalorian’s first season.
“Sesame Street” and “Co-op” songwriter Eli Bolin explains how he crafted the catchy, kid-friendly tunes for “John Mulaney and the Sack Lunch Bunch”.
We cross-over with the Debating Doctor Who podcast to figure out which Christmas Special (and their stars) deserves a spot on the Hall of Faces.
The scandalous pre-Code melodrama The Story of Temple Drake and Wim Wenders’ sci-fi road movie Until the End of the World get the Criterion treatment.
Fernando Meirelles explores the complexities of a church in transition in a vibrant, funny film with two divine lead performances.
The director of Wild Rose and The Aeronauts sits down to talk about his high-flying historical adventure, now available on Amazon Prime Video.
Tom Hooper adapts the Andrew Lloyd Webber musical into a Cronenbergian hellscape of trippy man-cats and the barest sliver of story.
J.J. Abrams closes out the Star Wars saga by walking back its more interesting middle chapter and drowning itself in fanservice.
From HBO (Chernobyl, Watchmen, Succession) to Netflix (Russian Doll, The Crown, Stranger Things) and beyond, we break down the best TV of the year.
Damon Lindelof’s series comes to a conclusion that is as evocative and satisfying as it is rushed.
