Godard said all you need for a movie is a girl and a gun, but did he ever really consider the cinematic possibilities of a sloth with a sword? The minds behind the horror-comedy Slotherhouse did, and we thank them for it.
As Golda Meir, Helen Mirren gives a showy but shallow impersonation, in a disappointing historical biopic more emotional than illuminating.
My choices for who will win, who should win, and who must not be allowed to win at the 96th Annual Academy Awards.
In which I look back on my preposterous (and predictably failed) attempt to write about every movie that opened this summer.
Denzel Washington eats, prays, loves, maims, mutilates, and murders in Anton Fuqua's The Equalizer 3 (2023), a dumb and dour action thriller that is both unpleasant to watch and bad for the world.
On The Affair, questions of "right" and "wrong" are as complicated—and as subjective—as questions of "true" and "false."
The shaky train of Season Eight goes spectacularly off the rails in the worst story Steven Moffat has ever written.
As Noah and Alison move from fantasy to reality, The Affair proves that its alternating point-of-view structure is much more than a "gimmick."
One way we can look at The Affair is as a metaphor for the writing process, in which various drafts and revisions of the story are presented side-by-side…
If you want us to apply fairy-tale logic to Doctor Who, the tale in question needs to be better than this shapeless trifle from Frank Cottrell-Boyce.
The Affair is using a common—even banal—situation to explore smart and subtle questions about identity and subjectivity reality.
I can be as grumpy as the next critic, but seriously: anyone who can't love a Doctor Who episode like "Flatline" should get out of the Doctor Who-loving business.
On paper, Jamie Mathieson's debut has all the elements of a great episode, but this "Mummy" never quite comes to life.
The Affair, the new drama from Showtime, is the best new series of the year, and a daring attempt to expand the narrative possibilities of television.
Tough decisions, difficult confrontations, and painful emotional growth: sometimes, Doctor Who isn't meant to be easy.
"The Caretaker" is a relatively light episode of Doctor Who, but that doesn't mean there aren't important things happening: some of them kind of troubling.
As Season Three comes to an end, I embrace the spirit of "binge-watching" by attempting (with mixed success) to live-blog the last three episodes.
"Time Heist" isn't bad, it just isn't much of anything: it's all surface, no substance, delivering nothing more or less than what was promised in the title.
It's order vs. chaos, sin vs. redemption, and Walt vs. the fly as my Breaking Bad binge-watch continues.
Steven Moffat's stunning, exquisite "Listen" is an episode about nothing, and recognizing that nothing can be a very scary thing.
"That would be a rubbish idea," the Doctor says, and he might as well be talking about the entirety of Mark Gatiss's "Robot of Sherwood."
With an older star, a darker tone, and a slower pace, this is not your father's Doctor Who. (Or, more to the point, it is…)
The problem with with Walter White being torn between good and bad is that we want him to be bad. We need him to be bad. We crave the thrill of badness every bit as much as he does.
Everything old is new again in Doctor Who, but the show seems overly worried about whether we'll go along with the changes.
It's time for "Truth and Consequences, NM," as Walt's house of lies begins to crumble, and his mid-life crisis begins to ratchet up the body count.
As I binge-watch the first half of Breaking Bad's second season, I find myself wondering: is Walt the villain? And can Jesse possibly be the hero?
Steven Soderbergh spent most of his movie career making formulaic B-movies better than they had any right to be. Now he does the same thing for TV in a pretty but (so far) predictable new series from Cinemax.
Outlander may look like an old-fashioned bodice-ripper, but—based on this confident, compelling first episode—it may turn out to be groundbreaking television.
There's a big mystery at the center of Breaking Bad so far: just who exactly is Walter White? What happened to him, and what is he capable of, and does he have any moral center at all?
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