Damon Lindelof’s series comes to a conclusion that is as evocative and satisfying as it is rushed.
The showrunner of Amazon’s sci-fi space opera The Expanse talks about bringing the show from Syfy to its new home, and what’s in store for season 4.
The cult-hit space opera heads to Amazon for a bigger budget, wider scope, and renewed sense of purpose.
Alex Garland’s contemplative sci-fi stories imagine a world where destruction and liberation go hand in hand.
Greta Gerwig’s adaptation of the Louisa May Alcott book is sensitive, challenging, and earnestly engages with the source material.
Legacy and memory rise to the forefront of an intriguing Watchmen concerned even more directly with the shadows of the past.
Mike Flanagan’s latest is equal parts Stephen King adaptation and Stanley Kubrick sequel, and can’t quite bridge the gap.
Martin Scorsese followed up The Departed with Shutter Island, a claustrophobic psychological thriller about the madness of loss.
Damon Lindelof stuns with a tight, incisive continuation of the impossible-to-film comic book. The prospect of making a […]
Hulu’s adaptation of the John Green novel explores the messy, furtive road of teenage love, warts and all.
Joker’s box office take this opening weekend is nothing to laugh at, as the DC Comics experiment paid off handsomely for Warner Bros.
Childe Roland to The Dark Tower came, and unfortunately, he brought all of us along with him.
Frank Darabont’s adaptation of the Stephen King story is one of the bleakest, most nihilistic takes on his material.
2007’s Stephen King thriller is a wonderfully economic take on the horror writer’s sensibilities, a real-time flytrap you can’t help getting stuck in.
For better or for worse, Lawrence Kasdan’s adaptation of Dreamcatcher captures the strange, ambitious essence of a Stephen King novel.
Mary Lambert’s 1989 adaptation of the Stephen King novel Pet Sematary doesn’t dig as deeply into parental anxiety and tension as it would like.
An eight-page horror story becomes a blashemous ’90s VR nightmare – one that Stephen King didn’t want his name attached to.
While it captures some of the melancholy of the acclaimed novel, John Crowley’s adaptation is too leaden and self-serious to really soar.