Film, TV & Streaming

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

It’s one of those biopics where everything significant that happened to a famous person happens all at once, in the couple of seconds of any given year that we see dramatized

Money savers.

So many thrills and chills to watch, so little time.

… This new Sabrina dives headlong into the dark, weird truths that smart kids — and alarmed evangelicals — always assumed ruled the life of America’s favorite teenage witch, her sorcerous aunts and her black-cat familiar

The depictions of drug and alcohol use, sex (Stevie getting it on with an older girl) and violence (both self-inflicted and by others) are difficult to watch, as Hill brings a fly-on-the-wall candor to his depiction of youth and the film’s era

Finally onscreen after years of legal disputes, Mathew Cullen’s calamitous film adaptation plays like my friend’s hazy recollection of the book, an incomprehensible jumble of misogynistic claptrap

The more prickly and belligerent Israel becomes — and McCarthy never burdens her with likability — the more Holofcener and Whitty soften her choices with extenuating circumstances, imbuing their subject with a zeal for artistic purity at odds with her actions

The couple has begun to discover that raw truth that, around 1960, American novelists and filmmakers were only starting to face in their art: that the post-war dream of a little house and a little family just might not be enough to ensure happiness

Called back into active duty after a cyberattack reveals the identities of all current MI7 agents, the decidedly out-of-date English uses his old-school knowledge to track down Volta and unplug him from the world’s power grid

Send in the clowns.

Adapted from a British series of the same name by Girls dream team Lena Dunham and Jenni Konner, Camping seems destined to spark yet another debate about patently “unlikable” female protagonists

Netflix has recently offered two modest stabs at this stabbing-est of genres, a pair of animated series, one of which bristles with promise

The teacher in question, played by an excellent Maggie Gyllenhaal, takes an insistent interest in the life and (apparent) art of 5-year-old student Jimmy (Parker Sevak), who occasionally goes into a shuffling trance and mumble-recites evocative verses of his own invention

That impulse — to continually stoke our fury with Twitter takes, cable news shouters and breaking news updates — gets lanced throughout The Oath, which writer-director-star Barinholtz has set in a now just as fevered as ours

Pretty much the whole film consists of phone exchanges between Asger Holm (Jakob Cedergren), a police officer who has been temporarily demoted to working the phones, and others out in the field as he struggles to save a woman who is being abducted by her ex-husband

Local films and Oscar contenders will be screened.

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

For Nic and his family, rehab becomes sobriety becomes relapse, a pitiless cycle of hope and disappointment too many of us will experience at one time or another, either as addict or loved one

Its leads, feminist writer Rachel (Kathryn Hahn) and Richard (Paul Giamatti), a one-time wunderkind of no-budget theatrical productions, find themselves desperate to conceive a child even as the doctors they pay (with borrowed money) thousands to speak frankly of the odds

Who’d have thought a show about the origins of a shyster/lawyer with a fake name whose clients are murderous drug dealers would turn out to be TV’s most satisfying depiction of an honest day’s work?