“Seberg” is a political thriller with no real point of view Benedict Andrews' retelling of FBI's pursuit of the French New Wave star under the Hoover administration relies far too heavily on broad stokes.
Features Rest in peace Annalise Keating, the heart of “How to Get Away With Murder” In the wake of the series finale, we look back on what made Viola Davis' character so iconic.
Features “Mad Max: Fury Road”’s language is as impeccable as its action George Miller's post-apocalyptic series is just as much about learning to communicate as it is learning to survive in the desert wastes.
Historical action meets creature feature in the delightfully silly “Monstrum” Shudder brings us a gory, goofy mix of Crouching Tiger, Hidden Dragon and Tremors.
“Scoob!” is as insubstantial as a Scooby Snack Hanna-Barbera gives Scooby-Doo a superpowered reboot and loses most of its charm along the way.
“The Wrong Missy” is the least wrong thing about Happy Madison’s latest A spirited turn from Lauren Lapkus can't quite save the Sandler crew's newest misfire.
TV “The Great” rewrites history with tongue firmly in cheek The Favourite screenwriter Tony McNamara gives the same farcical treatment to Catherine the Great, to largely wry results.
Filmmaker of the Month “Friday the 13th: The Final Chapter” tried (and failed) to kill Jason for good Frank Mancuso, Jr. and Paramount tried to give Jason Voorhees a killer sendoff, but the franchise didn't stay dead.
TV “The Unbreakable Kimmy Schmidt” lets you choose Kimmy’s adventure, for good and ill It's essentially a semi-interactive bonus episode, but Ellie Kemper and crew still pull some fun rabbits out of their purple JanSports.
Features Remembering the fleet-footed delights of “Center Stage” Nicholas Hytner's coming-of-age dance picture still holds a special place in the hearts of Milennial women twenty years on.
“Capone” messily rages against the dying of the light Josh Trank’s comeback stars Tom Hardy in a balls to the wall performance that’s wasted on a weak, derivative script.
“Spaceship Earth” is a more bizarre quarantine than our own Matt Wolf's documentary about the ill-fated science project is a bizarrely perfect fit for our self-isolating times.
TV “I Know This Much Is True” brings an empathic look at mental illness to HBO Derek Cianfrance's new miniseries avoids pitfalls with well-rounded characters and two terrific performances from Mark Ruffalo.
Filmmaker of the Month “Friday the 13th” kicked off the grandpappy of horror franchises Sean S. Cunningham's classic 1980 slasher kicked off the franchise with Kevin Bacon, Mama Voorhees, and a hell of a kill count.
“Driveways” is an achingly delicate cry for empathy Andrew Ahn's sophomore film is one of the year's most understated masterworks, with a beautiful sendoff for Brian Dennehy.
Interviews Andrew Ahn on “Driveways”, Brian Dennehy, and making films about loneliness The director of Driveways talks about crafting his second film, finding grace in human connection, and working with the late, great Brian Dennehy.
“Valley Girl” is far from high art, but that’s part of the fun Rachel Lee Goldenberg's remake of the 1983 rom-com is a light, airy work of kitsch that's easy to fall into.
“How to Build a Girl” has as much depth as it does laughs Coky Giedroyc's adaptation of Caitlin Moran's novel is a sharp comedy that gives Beanie Feldstein even more room to prove her talents.
Features How “Friday the 13th Part 2” introduced Jason in the flesh The first film to feature the horror icon in person, 1981's sequel marks the franchise's sway from Giallo-inspired mystery to Jason-centric mayhem.
TV In “The Eddy,” beautiful melodies tell terrible things Netflix's new music drama has enough style and strong performances to overcome its padding in this eight-episode season.
Bleak & creepy, “Z” isn’t here to play around Shudder’s chilling supernatural horror about a child’s murderous imaginary friend goes to unexpected places.