Throughout, your own need to cheer Dave Musikant—and expect, even demand, a decisive victory over Steven Lonegan—is undercut by sobering political facts.
Aaron Russo’s alarmism is matched by dubious interpretations of facts.
Here are five performance pieces from one of Noo Joisey’s favorite sons.
Deadwood has never shied away from theatrical flourishes that make metaphors concrete.
The Last of the Mohicans is a primal epic of survival and the overpowering urge to reproduce.
Where Bob Fosse edited to the dance, Michael Mann edits to the music underscoring his glossy depictions of extreme violence.
Even when it was bad, it was great.
The episode feels like a summation of the show’s thoughts on what it means to be mortal.
No movie delivers baseball and beer better than The Bad News Bears.
Society says that real men don’t eat quiche, and they don’t cry.
Deadwood’s knack for painting multi-layered portraits of evil is an aspect that elevates it above all but a handful of current series.
Savage men who disagree beat each other’s brains in. “Civilized” men who disagree send proxies to beat each other’s brains in.
Among hardcore Deadwood fans, a discussion of favorite characters could go back and forth for hours.
Die Hard is, in a way, three movies in one.
Stewart Stern is best known for writing the screenplay to the seminal American classic, Rebel Without a Cause.
In honor of what would have been Billy Wilder’s 100th birthday, NYC’s Film Forum is currently hosting a retrospective titled “Essential Wilder.”
Mel Blanc gets lots of credit for his work with Looney Tunes, all of it deserved.
One of the benefits of owning a toddler is their usefulness as guinea pigs in experiments.
The movie is visionary bubblegum, unabashedly in love with its source material.
The story of the Ellsworth/Alma/Bullock love triangle is being told almost entirely in subtle looks and body language.