Showtime offers up a riveting blow-by-blow look at the famous (and famously troubled) Puerto Rican boxer.
Diane Keaton’s turtlenecks and Jeremy Irons can’t save a creaky, borderline offensive ensemble rom-com with none of the spirit of its forebears.
Matthew Rankin’s gonzo reinterpretation of Canadian political history is as riotously funny as it is insightful about the symbolic nature of Western politics.
The composer returns to the podcast to discuss his third collaboration with Errol Morris and the challenges of recording scores during a pandemic.
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.
FX and BBC’s adaptation of Rumer Godden’s 1939 novel is a well-acted and handsomely mounted, if baggy, miniseries.
Burnham and Georgiou track down another clue to the Burn, while the former reevaluates their true place on the Discovery.
Yakko, Wakko, and Dot burst back onto the small screen with the exact same sensibility it left with in the ’90s, for better and worse.
David Fincher’s biopic of Citizen Kane writer Herman J. Mankiewicz is a slick, cynical reframing of Hollywood’s Golden Age.
Disney+ tries to replicate the giddy anarchy of Star Wars‘ most infamous work of media, but it doesn’t […]
HBO Max’s adaptation of the Philip Pullman novels seems disinterested in examining its characters upon its return.
The Netflix period drama returns for a fourth season full of typically stellar performances and unflinching storytelling.