Jonah Hill’s feature-length directorial debut, Mid90s, is a repository of contemporary indie trends.
The Guilty is a taut chamber thriller dominated by Jakob Cedergren’s flinty yet highly emotive visage.
The Romanoffs, an anthology series co-written and directed by Matthew Weiner, is ambitious but disappointingly inconsistent.
These are the films from this millennium that have most shocked us by plumbing our deepest primordial terrors.
The Haunting of Hill House is a kind of riff on madness in its many forms, a sojourn of loss and regret.