The veteran actress discusses her early turn in Nancy Kelly’s recently-restored feminist Western Thousand Pieces of Gold, and her career since.
In the wake of the series finale, we look back on what made Viola Davis’ character so iconic.
George Miller’s post-apocalyptic series is just as much about learning to communicate as it is learning to survive in the desert wastes.
Shudder brings us a gory, goofy mix of Crouching Tiger, Hidden Dragon and Tremors.
Hanna-Barbera gives Scooby-Doo a superpowered reboot and loses most of its charm along the way.
A spirited turn from Lauren Lapkus can’t quite save the Sandler crew’s newest misfire.
The Favourite screenwriter Tony McNamara gives the same farcical treatment to Catherine the Great, to largely wry results.
Frank Mancuso, Jr. and Paramount tried to give Jason Voorhees a killer sendoff, but the franchise didn’t stay dead.
It’s essentially a semi-interactive bonus episode, but Ellie Kemper and crew still pull some fun rabbits out of their purple JanSports.
Nicholas Hytner’s coming-of-age dance picture still holds a special place in the hearts of Milennial women twenty years on.
Josh Trank’s comeback stars Tom Hardy in a balls to the wall performance that’s wasted on a weak, derivative script.
Matt Wolf’s documentary about the ill-fated science project is a bizarrely perfect fit for our self-isolating times.
A look at one of the more likably silly entries in the series, and the brief, inglorious return of 3D horror.
Derek Cianfrance’s new miniseries avoids pitfalls with well-rounded characters and two terrific performances from Mark Ruffalo.
Sean S. Cunningham’s classic 1980 slasher kicked off the franchise with Kevin Bacon, Mama Voorhees, and a hell of a kill count.
Andrew Ahn’s sophomore film is one of the year’s most understated masterworks, with a beautiful sendoff for Brian Dennehy.
The director of Driveways talks about crafting his second film, finding grace in human connection, and working with the late, great Brian Dennehy.
Rachel Lee Goldenberg’s remake of the 1983 rom-com is a light, airy work of kitsch that’s easy to fall into.