Sarah Goldberg delivers her Emmy clip as the chickens come home to roost for Barry.
Rebel Wilson anchors a teen comedy that barely stays afloat because of its likeable cast.
Ninja Thyberg’s debut feature explores the porn industry and the terrible people it employs.
Audrey Diwan’s fearless and unfortunately timely Golden Lion winner features a virtuoso performance from Anamaria Vartolomei
Henry Winkler shines in an episode that’s lite on plot but heavy in character work.
Barry reaches new depths while the show has some genuine Hollywood fun.
David Simon and George Pelecanos apply much of worked so well in The Wire to their newest examination of Baltimore’s policing.
Barry returns after a three-year break without missing a step.
A film from a distinct comedic voice that lacks vitality.
Matt finds a beautiful and poignant portrait of two lovers in Kurosawa’s One Wonderful Sunday.
A dull, disposable espionage thriller.
Matt looks at Kurosawa’s only film with a female protagonist in No Regrets for Our Youth
Matt Hurt is reminded of later Kurosawa masterworks within THE MEN WHO TREAD ON THE TIGERS TAIL
A conversation with the directors of Topside, Logan George and Celine Held.
Paramount’s investment, and Killen & Kane’s commitment, makes Halo one of the best video game adaptations to date.
Matt Hurt investigates Kurosawa’s first sequel and sees the early hints at the complexity he’d master throughout his career.
Interview with Paul Shoulberg, director of So Cold The River.
Two good-looking people destroying each other and everyone around them could be a lot more fun.
Shawn Levy and Ryan Reynolds’ second collaboration together works best when ditching its sci-fi roots and focusing on a coming of age story.
Matt Hurt reviews The Most Beautiful, a film where Kurosawa’s tempered involvement permeates through the screen.