Shout! Factory’s release is stacked with enough goodies to satisfy a king-sized appetite for all things Kong.
Nearly everything in Taylor Hackford’s tin-eared comedy is as ersatz as the Robert De Niro character’s rage is real.
Baumbach lobs jokes a Sturgesian velocity, but much of this cross-generational comedy is frantic and wearisomely superficial.
Philip Roth’s original ending is cranked up to 11, flattening the more interesting contours of Al Pacino’s performance.
It takes the aesthetic premise of Louie, in which the world around its protagonist matches his passive, fatalistic outlook, to its logical extreme.
Parts four and five of “Elevator” devote nearly half their running times to extended digressions.
“Elevator Part 3” finds Louie displaying darker facets of his personality.
The title of the season-four premiere is possibly a wry acknowledgment of Louie’s return after a year-and-a-half hiatus.
My mother hates Charles Grodin, and not for something he did in real life.
So long as there are men in power who are still fuzzy on the definition of rape, Rosemary’s Baby will endure as a cautionary tale.
So long as there are men in power who are still fuzzy on the definition of rape, Rosemary’s Baby will endure as a cautionary tale.
Zach Braff is just about the world’s most insufferable comedic actor, and The Ex does nothing to diminish that reputation.
My Mom is a larger than life character crafted with one part June Cleaver, two parts Mahalia Jackson, three parts Oprah, and four parts Dorothy Parker.