As we bid Breaking Bad adieu, a few words about the antiheroes who reigned over the past decade—and are finally going gently into the good night.
And it's like he never left.
Woody Allen's new movie is the latest evidence of how superficial he is—and how his humor and New York sensibility have lured critics and filmgoers into overlooking his shallowness.
How do we judge a movie made from a book written by someone with repellent political views?
The Spectacular Now recalls an era of films that dealt with a complicated adolescent existence.
But there's still publishing gold in them thar clouds.
Would it be possible to fall in love with an artificial intelligence? A new film seems to say yes.
How the video game The Last of Us fits into the growing catalog of post-apocalyptic media.
The classic 1980s John le Carré miniseries Smiley's People is getting the Blu-ray treatment.
Pedro Almodovar's latest film, I'm So Excited! is less than thrilling but doesn't spell the end of the famed Spanish director.
Real-life Huma Abedin is pretty much Scandal's fictional D.C. political fixer Olivia Pope. Both women know their way around a crisis.
Fruitvale Station's intimate portrait of Oscar Grant promises better days ahead for black film.
With her latest film, Sophia Coppola emerges as successor to Italian director Michelangelo Antonioni, master of disaffection and alienation.
Can numbers-happy fantasy sports replace team play as a metaphor for the American way of living?
Aaron Sorkin's attempts to recycle long-mildewed news stories on The Newsroom—which begins its second season this Sunday—have grown modestly better! Sort of.