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Review: Daniel Roher’s Once Were Brothers: Robbie Robertson and the Band
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Review: Justin Bieber’s Changes Represents a Marked Shift in the Singer’s Perspective
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Review: Guided by Voices’s Surrender Your Poppy Field Serves Power Pop with a Twist
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Review: Reality TV Strikes Back in the Darkly Satirical Ministry of Broadcast
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Review: Amazon’s Hunters Blends Comedy and Violence to Diminishing Returns
Every BoJack Horseman Episode, Ranked
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The 50 Best TV Shows of the 2010s
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Every DC Extended Universe Movie Ranked from Worst to Best
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Eminem Drops Surprise Album and Anti-Gun Violence Video for “Darkness”
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Blu-ray Review: Pier Paolo Pasolini’s Teorema on the Criterion Collection
Review: Hiroshi Teshigahara’s Antonio Gaudí on Criterion Blu-ray
Blu-ray Review: Alfonso Cuarón’s Roma on the Criterion Collection
Blu-ray Review: Almodóvar’s Pain and Glory on Sony Home Entertainment
Review: Hamlet at St. Ann’s Warehouse Is a Triumph of Production Over Performance
Confessions of a Drag Legend: Charles Busch on The Confession of Lily Dare
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Under the Radar 2020: The Shadow Whose Prey the Hunter Becomes, Not I, & More
The Best Theater of 2019
Jenny Offill’s Weather Reckons with the Intimate Rhythms of the End Times
Reconciling Memory: Peter Stamm’s The Sweet Indifference of the World
John Sayles’s Yellow Earth Is a Masterfully Fair Hearing on Human Nature
In Find Me, the Sequel to Call Me by Your Name, the Echoes of Love Are Resounding
The Very Queer In the Dream House Explodes Expectations of Memoir
Fish-out-of-water comedies are a dime a dozen in Hollywood, but few are as well-constructed as this one.
Ener to Win a Shutter Island 4K Limited Edition Steelbook, a 21 Bridges Blu-ray, and More
