Go back to the first episode of Luck and you’ll see how much is made of a little goat (known for his giant testicles) that hangs out in Turo’s barn.
What emerges most saliently from Mintzer’s interviews is Gray’s commitment to the idea of problem solution in creating his style.
Michel Hazanavicius is attempting to make a silent film that will play to a talkies audience, not just silent film history buffs.
Terence Davies’s films often run on multiple kinds of consciousness.
It’s fitting that the title of this week’s installment of Justified is the classic joke lead-in “Guy Walks Into a Bar.”
On the occasion of his 86th birthday last Friday night, Jerry Lewis was in his element: water.
The Hunger Games succeeds by allowing us to care about who teenagers are hooking up with while also still feeling smart about it.
The latest track from Nas’s forthcoming Life Is Good won’t remind anyone of Illmatic.
Sopranos director Allen Coulter gives us a taste of what the darker Luck many of us had been wishing for might have been like.
As the music portion of the festival, and SXSW itself, draws to a close, there’s a lot to consider.
Indie Game follows two development teams clocking unnatural hours to complete their respective games before they run out of money and sanity.
Loose, shaggy, and more than a little rough, Gimme the Loot hearkens back to NYC indies like Kids.
Watching V/H/S is a gruesome and twisted blast.
Under African Skies is a positive breather after the heaviness of Paradise Lost 3: Purgatory.
Music is chaos, in the sense that it’s usually ruled by random chance rather than any distinct system.
Writers are often told that, when it comes to the act of artistic creation, one should “write what you know.”
Kirsten Sheridan’s Dollhouse feels unstable but also achingly real.
There’s a thudding pulse that seems to reverberate out of the city itself.
Zobel aims to implicate us all in what he forces us to confront.
When the show titles an episode “Loose Ends,” you can bet it will be all about tying up, well, loose ends.