Gordon-Levitt makes Snowden’s motives transparent without ever fully dropping his guard. It is reassuring that a film in which people are spied can still have a protagonist who remains essentially unknowable.
Too often these days, particularly in commercial cinema, the credo seems to be more is more.
What makes Grimsby an especially steep falling-off after Baron Cohen’s last three movies is the sense that no one really cared whether it came off or not; the whole enterprise has a “will-this-do?” quality.
The Academy Awards are blighted by racism and bad decisions. So what would a world without them look like?
On the pop culture podcast this week, we discuss the Netflix TV series Love, the film A Bigger Splash, and the audiobook of Shonda Rhimes’ Year of Yes.
It's excruciating, but gradually our close proximity to the eponymous shambolic twentysomething allows for a deepening intimacy.
Misanthropic, self-impeding, and downright irritating antiheroes are the genre’s new bread-and-butter, but not necessarily its inversion.
Funny Or Die Presents Donald Trump’s The Art of the Deal: The Movie ridicules Trump’s politics through his real estate career.
With its over-saturation of guest stars and cheap gags, the chief thing this sequel has going for it is its looks.
It’s ironic that a man who got his breakthrough in a TV series with cinematic ambitions should now be the star of a movie, Trumbo, which resembles television at its most unadventurous.
We discuss awards season’s big trio: the Oscars, the BAFTAs, and, of course, the SRSLYs.
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