The author's chronicle of solitary Americans after the financial crash is nostalgic—but for what, exactly?
Frank Bill and the new violent Midwestern fiction
How the white-supremacist South made possible the New Deal—and drastically curtailed it.
Shane Carruth’s Upstream Color shows why we still need the movies.
What the resemblence between the president and the History Channel's Prince of Darkness says about today's GOP.
One Hundred Years of Solitude didn’t just crystalize who García Márquez was, it crystalized who I was.
When you buy a ticket to a movie called Pompeii, expecting art or even brains would be fatuous; what you want is a good time. Sue me for confessing I had one.
"Mitt" reminds us that seeing a candidate's "true" self is impossible, no matter who he is.
It’s a dark place.
Ronan and Mia Farrow took to Twitter to express their outrage after the director was honored at Sunday's Golden Globes, but why hasn't he gotten more grief from the film-world establishment?
Thinking about Otto Preminger's film 50 years later in the context of Pope Francis.
A CIA memoir whose emptiness is something to contemplate
It was imbecilic but gorgeous—just like America.
Inside Llewyn Davis deepens the duo's turn from satire to elegy
Their leader says he wants more of "an attitude and a take." It's actually not a bad idea.