‘The Boys’ Season 4 Is a Bloody Descent into Hell
Erik Kripke’s gory superhero satire The Boys takes a visceral plunge into political and personal tragedy, showing there’s more to fear than just corrupt superheroes.
Erik Kripke’s gory superhero satire The Boys takes a visceral plunge into political and personal tragedy, showing there’s more to fear than just corrupt superheroes.
Angry old men, sexy strumpets, moonshiners, corrupt sheriffs, and dumb farmhands populate them thar hills in these two low-budget ’60s hicksploitation films.
In Wim Wenders’ Paris, Texas, Travis is adrift, caught in the comma between the liminal ‘Paris’ and the redemptive ‘Texas’, between lost futures and the impermeable present.
For compelling and worrisome reasons, crime sells in our TV entertainment. The Responder, Shardlake, and Eric feed our brutal compulsion in varying ways.
With horror film I Saw the TV Glow, Jane Schoenbrun creates an eerie, emotional journey into the intersection of identity and popular culture.
Axe murder, motor scooter theft, projectile breast milk and more from a week at the Music Box Theatre for the Chicago Critics Film Festival 2024.
In Éric Rohmer’s ‘Tales of the Four Seasons’, everything exists on an elevated Expressionist plane; every detail dovetails into its hermetic philosophies and ironies.
Nicholas Ma’s humorous, warm and sensitive directorial feature debut, Mabel, embraces the messy uncertainty of life, for children and adults.
World of Giants is catnip and dog-nip and gopher-nip for connoisseurs of classic sci-fi TV ’50s style, aka, the art of really short half-hour storytelling.
In 13 episodes, lost TV wonder 21 Beacon Street is an uncanny and legally actionable precursor to the Mission Impossible franchise.
The mini-series adaptation of Viet Thanh Nguyen’s kaleidoscopic tale The Sympathizer is a knockout account of colonialism, war, and (the loss of) identity.
Rachel Lambert’s sensitive and observant comedy drama Sometimes I Think About Dying isn’t a film that will turn popcorn into projectiles.