Film, TV & Streaming

Those seeking out some titillating times would be better satisfied by Googling “feminist porn” and clicking randomly.

Get plans.

Citizen Rose is strongest at the start, when it juxtaposes McGowan’s present-day anguish with the media coverage of her as a young starlet.

Great News has a screwball charm and a flair for rapid-fire jokes, built on a premise that amusingly literalizes the classic sitcom concept of coworkers as family.

The Ritual finds a quartet of British lads/drips hiking through the deserted woods of northern Sweden.

While the film does insist on its own irreverence a bit too much at the outset, it offers plenty of lively fun once it settles down.

The ninth annual edition of the event kicks off February 9.

The Insult is a little pushy, sometimes even tough to swallow, but no more than actual geopolitics.

Mockler seems to be striving for profound revelations about human connection (or lack thereof) in the digital age.

I’m Time’s Up-invigorated and ready to BURN IT ALL DOWN, so please take all my recommendations with a grain of salt, because if it stars a white man, I’d like to see it in the garbage can

For much of The Final Year, convinced of Hillary Clinton’s victory, Obama’s crew insist that their successes and failures are part of a continuity.

That’s the real thrill: hose moments when your perception of what is possible on this Earth expands like a blowfish puffing up.

Christian Gudegast’s Den of Thieves comes in a cut above the usual trash that Gerard Butler stars in.

It’s a somewhat boisterous adventure, a war movie where you cheer not just for the boys to make it home but for them to complete the mission.

Check out the 90th Oscar nominees, and make sure to tune in on March 4 on ABC.

Was it the worst movie of the year?

New York is not a character in The Alienist, but it is the show’s star, its beating heart.

Where the movie occasionally locates some surprise and resonance is in the tiny exchanges, when Wolf allows her characters to breathe.

The charm of a fantastical hand-drawn work like this is that it reconnects us to the primal wonder of the image.

The film drags when Haneke pulls focus to the other, duller characters.

In Between is a movie not so much about suffering as it is about the grinding reality of just being.

Versace is a puzzle the viewer puts together as it goes on, and the story seems to ripen with every episode.