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'Santa Clarita Diet' S2 Has Brains, Guts, and Heart to Spare

When people change it often isn't for the better or the worse, but just for the different. And sometimes it's just like zombies.

Jay Bamber

Television

'Justified': More Macho Posturing

As old-fashioned as Raylan may want to be, in Justified, he's got to keep up.

Reviews

The Line Between Hero and Villain is Blurred in 'Justified: The Complete First Season'

Justified has the thrilling shootouts, but its success owes more to a rare attribute in action television: charm.

Reviews

Summer of Same: August 2009

With names like Tarantino, Lee, and Zombie, the final month of the season pulls out all the film geek stops. Still, the only guarantee is familiarity, not freshness.

Film

Stop-Loss

In Brandon's confrontations with his own delusions, Stop-Loss focuses on unhealthy rituals of manhood and male community recalling Peirce's Boys Don't Cry.

Reviews

The Perfect Lean, Mean, Macho Machine

The Die Hard series is a true rollercoaster of visual excesses guaranteed to raise the viewer’s adrenaline levels – while invoking intriguing ideological and cultural subtexts that deal with race, gender, masculinity, and social anxieties.

Featured: Top of Home Page

Hitman

Too dry for teenagers, and not sophisticated enough for anyone who has ever seen an espionage movie better than Ballistic: Ecks vs. Sever.

Jesse Hassenger

Reviews

Live Free or Die Hard

Bruce Willis' career may not have mandated a fourth trip into Die Hard territory. Who knew that action fans needed it so badly?

Reviews

Hitman

Hitman isn't interested in complex emotions or motivations. Rather, it maintains a pretty much relentless focus on the predictable poetry of violence.

Reviews

Die Hard Neocon

In yet another Die Hard film this summer, Bruce Willis will reprise his role as John McClane. But can the public stomach the implicit politics that animate him?

Michael Serazio

Film

Live Free or Die Hard (2007)

Bruce Willis as John McClane is back, recalling all the retro rightness and righteousness he first incarnated in 1988.

Reviews

Catch and Release (2006)

That this film somehow managed to attract such an array of diverse talent, and was marketed as a feminine romantic comedy, will confound viewers to no end.

Reviews

Monkey Business (Part 2: June)

Apparently, as the sun's strongest rays finally settle over the movie going public, sequels are the remedy to cool down an overheated demographic. This month alone holds five examples of such redux refreshment. The rest of the choices are a variety pack of genres, ideas and possibilities.

Film

Pop Ten

The 25 Best Classic Progressive Rock Albums

The 100 Greatest Alternative Singles of the '80s: Part 1: 100 - 81

Jackie Chan's 10 Best Films

The 100 Greatest Alternative Singles of the '90s - Part 1 (100 - 81)

The 100 Greatest Alternative Singles of the '80s: Part 5: 20 - 1

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Mixed Media

Collapse Expand Mixed Media

PM Picks

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'Santa Clarita Diet' S2 Has Brains, Guts, and Heart to Spare

When people change it often isn't for the better or the worse, but just for the different. And sometimes it's just like zombies.

'Justified': More Macho Posturing

As old-fashioned as Raylan may want to be, in Justified, he's got to keep up.

The Line Between Hero and Villain is Blurred in 'Justified: The Complete First Season'

Justified has the thrilling shootouts, but its success owes more to a rare attribute in action television: charm.

Timothy Olyphant stars in new FX show 'Justified' (trailer)

Summer of Same: August 2009

With names like Tarantino, Lee, and Zombie, the final month of the season pulls out all the film geek stops. Still, the only guarantee is familiarity, not freshness.

Stop-Loss

Realism doesn't make a better movie, just a more sensitive one.

Stop-Loss

In Brandon's confrontations with his own delusions, Stop-Loss focuses on unhealthy rituals of manhood and male community recalling Peirce's Boys Don't Cry.

The Perfect Lean, Mean, Macho Machine

The Die Hard series is a true rollercoaster of visual excesses guaranteed to raise the viewer’s adrenaline levels – while invoking intriguing ideological and cultural subtexts that deal with race, gender, masculinity, and social anxieties.

Hitman

Too dry for teenagers, and not sophisticated enough for anyone who has ever seen an espionage movie better than Ballistic: Ecks vs. Sever.

Live Free or Die Hard

Bruce Willis' career may not have mandated a fourth trip into Die Hard territory. Who knew that action fans needed it so badly?

Hitman

Hitman isn't interested in complex emotions or motivations. Rather, it maintains a pretty much relentless focus on the predictable poetry of violence.

Die Hard Neocon

In yet another Die Hard film this summer, Bruce Willis will reprise his role as John McClane. But can the public stomach the implicit politics that animate him?

Live Free or Die Hard (2007)

Bruce Willis as John McClane is back, recalling all the retro rightness and righteousness he first incarnated in 1988.

Catch and Release (2006)

That this film somehow managed to attract such an array of diverse talent, and was marketed as a feminine romantic comedy, will confound viewers to no end.

Monkey Business (Part 2: June)

Apparently, as the sun's strongest rays finally settle over the movie going public, sequels are the remedy to cool down an overheated demographic. This month alone holds five examples of such redux refreshment. The rest of the choices are a variety pack of genres, ideas and possibilities.

Hip-Hop Legend Kurtis Blow: The Interview

With a New Covers Project, Juliana Hatfield Sets Her Sights on the Police

Kapil Seshasayee Addresses Bollywood Misogyny with "The Item Girl" (premiere)

Brooklyn Funk Essentials Go Space Age on "Funk Ain't Ova" (premiere)

Bersarin Quartett Create Stunning Forward-Looking Ambient with "Wenn wir nur wollen" (premiere)

Habibi Funk Previews Their Reissue of Issam Hajali's Early Work with "Intazirne" (premiere)

New York Producer BAILE Blends Potent House Beats and Downtempo Rhythms on "Winte"(premiere)

Winterpills' Frontman Philip B. Price Issues New Solo Album 'Bone Almanac' (album stream + interview)

Rebecca Turner Returns with 'The New Wrong Way' (premiere) (interview) (album stream)

Wilderun's 'Veil of Imagination' Is a Wonderfully Chameleonic Progressive Metal Adventure (album stream) (premiere)

Flora Hibberd Captivates with the Heart-Stirring Folk of "As Long As There Is Night" (premiere)

When people change it often isn't for the better or the worse, but just for the different. And sometimes it's just like zombies.

As old-fashioned as Raylan may want to be, in Justified, he's got to keep up.

This year Justified went from being a very good show to being a great one, while two of TV's most promising new series, Terriers and The Chicago Code, were gone too soon.

Justified has the thrilling shootouts, but its success owes more to a rare attribute in action television: charm.

With names like Tarantino, Lee, and Zombie, the final month of the season pulls out all the film geek stops. Still, the only guarantee is familiarity, not freshness.

Realism doesn't make a better movie, just a more sensitive one.

In Brandon's confrontations with his own delusions, Stop-Loss focuses on unhealthy rituals of manhood and male community recalling Peirce's Boys Don't Cry.

The Die Hard series is a true rollercoaster of visual excesses guaranteed to raise the viewer’s adrenaline levels – while invoking intriguing ideological and cultural subtexts that deal with race, gender, masculinity, and social anxieties.

Too dry for teenagers, and not sophisticated enough for anyone who has ever seen an espionage movie better than Ballistic: Ecks vs. Sever.

Bruce Willis' career may not have mandated a fourth trip into Die Hard territory. Who knew that action fans needed it so badly?

Hitman isn't interested in complex emotions or motivations. Rather, it maintains a pretty much relentless focus on the predictable poetry of violence.

In yet another Die Hard film this summer, Bruce Willis will reprise his role as John McClane. But can the public stomach the implicit politics that animate him?

Bruce Willis as John McClane is back, recalling all the retro rightness and righteousness he first incarnated in 1988.

That this film somehow managed to attract such an array of diverse talent, and was marketed as a feminine romantic comedy, will confound viewers to no end.

Apparently, as the sun's strongest rays finally settle over the movie going public, sequels are the remedy to cool down an overheated demographic. This month alone holds five examples of such redux refreshment. The rest of the choices are a variety pack of genres, ideas and possibilities.