Found photographs hand-altered with embroidery and collage, transforming pictures that were somehow incomplete.
Every generation gets the fictional doomsday it desires. What we learned during our dystopian, end-of-the-world summer vacation at the movies.
Good old Earth was nearly destroyed, almost extinguished, and threatened with slaughter every hour in cinemas this summer. And yet, here we are. Our film critics pinpoint the collapse of the apocalypse genre.
Some of the best TV shows these days, whether we’re watching them on television sets or online, are being compared to novels—and even sonnets. A chat with some of the leading thinkers in TV writing to find out what comes next.
There’s a new Spider-Man movie in the works, but it’s not the one you’re expecting. Thanks to the magic of crowd-funding, it could be the summer blockbuster nobody sees.
Andy Kaufman performed for more than just laughs—in fact, his goal often seemed to be something entirely different. A budding comic chases Andy’s ineffable comedy.
The Oscars are consistently irrational, but we wanted more for David O. Russell’s fantastic Silver Linings Playbook. Film critics David Haglund, Pasha Malla, and Michelle Orange discuss why the movie so divided critical opinion, and became such a hit with audiences.
Yesterday morning, a plane landed at an airport. A man who was or was not a famous actor, and a writer who was or was not in love with him, stood on the verge of finally meeting. A Valentine’s Day story for the romantic and/or foolish at heart.
The White House recently turned down a petition to build a Death Star. More responses from the official rejection pile.
Our man in Boston talks to screenwriter and novelist Attica Locke about writing in Hollywood, the origins of her second novel, and where exactly British prisoners locate the moral heart of The Wire.
Once again, we convene our film scholars, plus critic Michelle Orange, to discuss a major movie: The Master, by Paul Thomas Anderson—a masterpiece of craftsmanship, or merely an exercise of cinema and violence with no story in the center?
Yes, yes, The Exorcist and Night of the Living Dead are reliably traumatizing, but at this point they’re comfort food, and there’s plenty more to discover in the world of horror cinema.