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.
Somewhere in America Miley Cyrus is appropriating black culture, but she's certainly not the only artist—we've got a long and tangled history of it.
And it's like he never left.
New work from a legendary writer in honor of the March on Washington's 50th anniversary, and a conversation on growing up during the civil-rights movement
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.