Superstore consistently depicts with humor and pathos how corporate America keeps working-class people in a perpetual state of precarity.
Danny Kaye was as equally adept with vine-swinging, dancing, and hypnotizing as he was with tongue-twisting patter, as seen in the 1956 comedy, The Court Jester.
We can never have too many Jewish Atheists from Brooklyn publishing essays about life as they see it. Actress Melanie Chartoff's 'Odd Woman Out' has me wanting more.
Fran Lebowitz's ubiquitous little smirk is still going as strong as it ever did because—and this is why she is sexier now than she was 50 years ago—there is really just no way whatsoever to make her feel bad about herself.
It's time Christmas rom-coms move beyond the twin swaps, the dead spouse who comes back as an angel, the bad blind date, etc., and instead, turn to real-life stories for healthy models of lasting love forged in the fires of the holiday.
Under Norman Jewison's direction and John Patrick Shanley's writing, Moonstruck -- now available from Criterion -- fully embodies the '80s special character of classically-minded, well-made romantic films.
While this roustabout story about Herman Mankiewicz's battle to write the Orson Welles classic is clearly impressed with itself, Mank is easily David Fincher's best work since Zodiac.
Ryan Murphy's Netflix adaptation of the satirical musical about Broadway stars inserting themselves into a same-sex school dance controversy, The Prom, hits his sweet spots and his weaknesses.
Burt Reynolds' Sonny Hooper is a carefree and lovable guy whose reckless stunt pro lifestyle symbolizes the self-troubles and limitations toxic masculinity creates.
The problem Joon-ho presents in Parasite is geometrical. Is this the only shape of society we can imagine as workable, as livable? Is this livable?