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Movie and TV News

“La Bola Negra” Wins Toronto’s People’s Choice Award, Handing Netflix an Oscar Front-Runner

Yeşim Ustaoğlu Returns to San Sebastian With “What Remains,” a Road Movie About a Poet Who Walks Away

Blue Finch Films Boards Sean Hogan’s Supernatural Thriller “The Dark Gets In” Ahead of Beyond Fest

Novelist Maha Harada, 64, Brings Her Directing Debut “In My Father’s Room” to San Sebastian

Ben Affleck Nearly Cast Ex-Wife Jennifer Garner as His Wife in “Animals”

David Fincher Was Aaron Sorkin’s First Pick for “The Social Reckoning,” but Netflix Deal Stood in the Way

Ke Huy Quan Recalls Near-$100,000 “Temple of Doom” Check That Stunned His Family

Paramount Settlement Talks Pause as Some State AGs Demand Tougher Terms

Sharon Horgan Explains the “Youth” Premiere’s Emotional Twist: “It Was Always Going to End Like That”
Movie and TV Reviews

Imperium Review: Ordinary Life Beneath an Imperial Myth

Give It a Shot Review: Male Birth Control Meets Decades of Delay

Ever After Review: Prince Charming Deserved a Smarter Nightmare

Burning Review: The Truth Is Less Fantastical and Far Worse

Maya & Samar Review: Passion Burns Brighter Than Its Politics

Cocoon: One Summer of Girlhood Review: War Reaches the Classroom First

Brailled It Review: The Braille Challenge Through Its Competitors’ Eyes

Dark Hollow Review: Coal Country Horror Finds the Wrong Target

Bucks County, USA Review: Five Hours Inside America’s School Board Wars
Game Reviews

Monowave Review: Emotion Becomes the Language of Play

Silent Hill: Townfall Review: The Fog Has Rules Now

Graveyard Keeper 2 Review: Fixing the Grind Without Fixing Every Mystery

BLACKWOOD Review: Stylish Takedowns, Shaky Foundations

Sniper Dan Review: The Real Skill Is Knowing Where to Look

The Walking Dead: Streets of Survival Review: Rick and Company Enter the Arcade

Woodo Review: Finding Wonder Beyond the Screen

Train Sim World 7 Review: Three Railways, Three Different Rhythms

Aniimo Review: Great Creatures Trapped Behind Too Many Menus
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The Blood Countess Review

The Blood Countess Review: Ottinger’s Campy Deep-Dive into History’s Crypt

by Naser Nahandian

Ulrike Ottinger returns to cinema with a work that plays like a fevered recollection of European ...

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