The show’s second season plays with structure and tone to explore the violence that shapes its characters’ lives.
The film knows who it wants to reach, and speaks directly to them without pandering to them.
The series is far better when it focuses on its characters’ shenanigans than on social commentary.
The film feels like it’s content to check off to-do notes and scratch the viewer’s nostalgia itch.
The Fabelmans is a provocative investigation of the cinematic medium from one of its great masters.
Rogen discusses collaborating with Simon Rich, how the film enriched his understanding of Judaism, the exhibition prospects of comedy in the streaming era, and more.
This ostentatiously expensive remake is reliant on our memory of the original to accentuate every significant moment.
As it proceeds toward its telegraphed rom-com ending, the film becomes just more empty rhetoric, an ineffectual reiteration.
The trailer for the photorealistic remake of the 1994 film is hellbent on proving that you can indeed step in the same river twice.
It perfectly communicates the surreal hell of what the original production of The Room must have been like.
This animated film isn’t willing to completely face the bleakness of its allegory of faith versus skepticism.
The film’s expected rehash of recent pop-culture totems is accompanied by a novel attention to millennial-centric debates about entitlement and identity politics.
Third time’s the charm for Shout! Factory, whose new Blu-ray box set marks the show’s most definitive home-video release yet.
Universal’s electric Blu-ray treatment for Steve Jobs could go mouse to mouse with any Hollywood studio disc from the past year.
The film evenly distributes its action in quick bursts of fluidly animated fight choreography.
It aims to foster a spirit of giddy anarchy in order to tie a ribbon around its shambolic script and rickety pacing.
Danny Boyle’s film can’t help but land in the same hagiographizing place as nearly every single other Great Man biopic churned out by the studio powers that be.
Rogen and Goldberg’s film essentially uses a major global issue to cheaply dress up what is two hours of hit-and-miss erection jokes.
The promo materials implore us to vote either #TeamFrat or #TeamFamily on Twitter, though we’re way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.
It’s disheartening that, despite some half-hearted overtures toward shifting the comedy paradigm, the filmmakers make little attempt to expand their comedic palette.