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In typical Coen fashion, most people in the movie meet ironic or wry deaths, but this time the Coens seem to be actively eschewing any deeper emotional connection between the audience and the characters → Read More
In typical Coen fashion, most people in the movie meet ironic or wry deaths, but this time the Coens seem to be actively eschewing any deeper emotional connection between the audience and the characters → Read More
This thoughtful, textured story — though brutal at times — stands as one of the clearest depictions of turmoil, racism and nepotism in local politics that’s ever been drawn onscreen → Read More
This thoughtful, textured story — though brutal at times — stands as one of the clearest depictions of turmoil, racism and nepotism in local politics that’s ever been drawn onscreen → Read More
There are some evergreen horror concepts, where the bare bones of the story are strong enough that they can be adapted and made over in multiple generations to express whatever fears and frustrations of the times in which they’re made → Read More
There are some evergreen horror concepts, where the bare bones of the story are strong enough that they can be adapted and made over in multiple generations to express whatever fears and frustrations of the times in which they’re made → Read More
There are some evergreen horror concepts, where the bare bones of the story are strong enough that they can be adapted and made over in multiple generations to express whatever fears and frustrations of the times in which they’re made → Read More
There are some evergreen horror concepts, where the bare bones of the story are strong enough that they can be adapted and made over in multiple generations to express whatever fears and frustrations of the times in which they’re made → Read More
Ultimately a story about brotherhood, friendship and the insecurity of life in a violent place, the film injects a sweetness and innocence into the genre, mostly through one stellar performance by John C. Reilly → Read More
We meet Laurie in her super-sealed woodsy compound, almost 40 years to the day after the murders that took place in 1978 — this film negates all the previous Halloween sequels → Read More
We meet Laurie in her super-sealed woodsy compound, almost 40 years to the day after the murders that took place in 1978 — this film negates all the previous Halloween sequels → Read More
We meet Laurie in her super-sealed woodsy compound, almost 40 years to the day after the murders that took place in 1978 — this film negates all the previous Halloween sequels → Read More
We meet Laurie in her super-sealed woodsy compound, almost 40 years to the day after the murders that took place in 1978 — this film negates all the previous Halloween sequels → Read More
We meet Laurie in her super-sealed woodsy compound, almost 40 years to the day after the murders that took place in 1978 — this film negates all the previous Halloween sequels → Read More
Monsters and Men, Monsters and Men review, Reinaldo Marcus Green, Anthony Ramos, John David Washington, Kelvin Harrison Jr. → Read More
Ultimately a story about brotherhood, friendship and the insecurity of life in a violent place, the film injects a sweetness and innocence into the genre, mostly through one stellar performance by John C. Reilly → Read More
To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.” → Read More
To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.” → Read More
To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.” → Read More
To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.” → Read More