This week on home video, we’ve got a super successful space odyssey from Marvel, a feelgood sequel, and an inspirational sports film to lead things off. Then, there are a number of smaller releases, some notable TV box sets, and a few remastered anniversary Blu-rays of popular older films. Read on for details:



Guardians of the Galaxy

92%

Unless you were already into the comics scene, chances are you’d never heard of these so-called Guardians of the Galaxy. Boy, has that changed. The film surprised almost everyone by ruling the late summer box office, thanks to a number of factors: a cast of charming misfits, a wry sense of humor, top-notch special effects, a killer soundtrack, and James Gunn’s steady directorial hand. This is the movie that made Chris Pratt a star and put a dancing baby Groot on everyone’s stocking-stuffer wishlist. With a Tomatometer score of 90 percent and an Audience score of 94 percent, Marvel’s Guardians succeeded in impressing nearly everyone, which isn’t easy to do. If you pick this one up this week, you’ll get a pretty in-depth commentary track featuring James Gunn, a making-of featurette, and deleted and extended scenes, among other things.



Dolphin Tale 2

66%

Speaking of late summer surprises, 2011 had one of its own in Dolphin Tale, a feelgood movie about a handful of people rescuing a dolphin that was Certified Fresh at 82 percent. Naturally, we got a sequel this year, and though it didn’t fare as well as the first film, most critics found it pleasant enough. This time out, Winter the dolphin is struggling because her dolphin friend Panama has died; in an effort to raise Winter’s spirits and keep her at the aquarium, a search begins for a new companion to share Winter’s tank. Critics agree that Dolphin Tale 2 is a sweet, heartfelt drama for the whole family, even if it doesn’t quite distinguish itself from its predecessor, and it’s Fresh at 68 percent. Bonus features include a couple of short making-of docs, a look at Clearwater Marine Academy’s mission, and a brief piece covering the true events that inspired the film.



When the Game Stands Tall

20%

One of the reasons we love sports is that there are so many incredible stories to tell; the only problem is, when you’ve seen so many of them dramatized on screen, they become more difficult to distinguish from each other. When the Game Stands Tall suffers from this problem; although its tale of football coach Bob Ladouceur (Jim Caviezel) and the De La Salle High School team he led to a record-setting 151-game winning streak is undoubtedly remarkable, the film ultimately gets lost in all too familiar clichés. If you’re looking for something inspirational to watch, this may do the trick, but at 18 percent on the Tomatometer, don’t expect any surprises whatsoever, especially when the story plays out exactly like you might expect it to. Extras include a handful of deleted and extended scenes, a profile of the real Coah Ladouceur, and a look at the on-field filming techniques employed in the movie.

Also available this week:

  • Frank (93 percent), starring Michael Fassbender and Maggie Gyllenhaal in a dramedy about a young musician who joins an avant-garde band led by an eccentric man who never takes off his giant papier-mâché mask.
  • Kelly Reichardt’s Night Moves (85 percent), starring Jesse Eisenberg and Dakota Fanning in a drama about a trio of environmental activists who plan to blow up a hydroelectric dam in protest.
  • I Origins (52 percent) starring Michael Pitt and Brit Marling in a sci-fi drama about a biologist studying the evolution of the eye who makes a breakthrough discovery that alters his understanding of the world.
  • French import The Strange Color of Your Body’s Tears (47 percent), a horror film in the Giallo style about a man who descends into psychosexual chaos when his wife disappears without a trace.
  • Warner Bros. is releasing a handful of films on “Diamond Luxe Edition” Blu-rays that are celebrating various anniversaries this year: The Green Mile: 15th Anniversary (80 percent), Natural Born Killers: 20th Anniversary, Forrest Gump: 20th Anniversary, Tim Burton’s Batman: 25th Anniversary, and Gremlins: 30th Anniversary. Feel old yet?
  • We also get three choices from the Criterion Collection this week: Todd Haynes’ Safe (84 percent), starring Julianne Moore in a paranoid thriller about a woman who falls victim to an inexplicable disease; Terry Gilliam’s Time Bandits (93 percent), about a boy who experiences the journey of a lifetime with a band of time-traveling dwarfs; and Liliana Cavani’s The Night Porter (67 percent), starring Charlotte Rampling as a Nazi concentration camp survivor who attempts to rekindle her sadomasochistic relationship with her former torturer in post-war Vienna.
  • Season eight of the BBC’s Doctor Who (91 percent), the first season with Peter Capaldi as the Doctor, is available on DVD and Blu-ray.
  • Season two of Under the Dome (57 percent), a sci-fi mystery about a town trapped under a mysterious dome, is available on DVD and Blu-ray.
  • The first of three classic TV sets coming out this week, the complete series of 1960s comedy Mister Ed, about the famous talking horse, is available on DVD.
  • Second, the complete series of the popular 1980s sitcom The Jeffersons is also available on DVD.
  • And third, the complete series of the Robin Williams Happy Days spinoff Mork & Mindy is also available on DVD.

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Ep. 048 – New movies, plus John Erick & Drew Dowdle
Tim kicks off this week’s show with critics’ reactions to The Identical, and then Matt argues with the team about the merits of Forrest Gump. Ryan talks about new home video releases Draft Day and Night Moves, and then Sarah talks about the season premieres of Boardwalk Empire and Sons of Anarchy. In the second half of the show, Grae shares an interview with the Dowdle brothers, the team behind As Above/So Below, and they discuss shooting underground and their upcoming project with Pierce Brosnan.

The two new movies available on streaming video this week aren’t the biggest titles, but they’re both Certified Fresh. In addition, we’ve got a number of classics and old favorites newly added to Netflix, including an iconic jailbreak movie, the Robin Williams film that earned him his first Oscar nod, a Robert Redford Best Picture-winner, and a little movie about a Jamaican bobsled team that went on to attract a huge fanbase. Read on for details:


Night Moves
86%

Jesse Eisenberg and Dakota Fanning in a Kelly Reichardt’s Certified Fresh drama about a group of radical environmentalists plotting an attack.

Available now on: iTunes


Fed Up
80%

This Certified Fresh documentary makes the case that the food industry is culpable for the obesity epidemic.

Available now on: iTunes


Escape from Alcatraz
96%

Clint Eastwood attempts to, y’know, escape from Alcatraz in this gritty thriller from Don Siegel, based on a real-life ascape attempt from the famed islad prison.

Available now on: Netflix


Ordinary People
89%

Robert Redford’s Best Picture-winning domestic drama stars Donald Sutherland, Mary Tyler Moore, Judd Hirsch, and Timothy Hutton in the moving story of a family coming apart at the sesms.

Available now on: Netflix


Good Morning, Vietnam
91%

Robin Williams got his first Best Actor Oscar nod for his portrayal of an Armed Services radio DJ during the Vietnam War in Barry Levinson’s comedy; many of Williams’ lines were famously improvised.

Available now on: Netflix


Crocodile Dundee
89%

“That’s not a knife. This is a knife!” This fish-out-of-water tale introduced the world to Paul Hogan’s titular character, who stumbles around the unfamiliar confines of New York. The film was so popular it spawned two sequels.

Available now on: Netflix


Mr. Mom
75%

Michael Keaton stars as a stay-at-home dad who learns the hard way how difficult keeping house can be.

Available now on: Netflix


Cool Runnings
76%

Loosely based on the true story of the Jamaican bobsled team that debuted in the 1988 Summer Olympics, this comedy features a killer soundtrack and one of John Candy’s final performances.

Available now on: Netflix


The Addams Family
65%

Raul Julia and Anjelica Huston headline this hit adaptation of the popular 1960s TV sitcom — itself based on a series of cartoons — about a lovingly devoted but undeniably creepy family.

Available now on: Netflix

Peter-Sarsgaard's-Five-Favorite-Films

Peter Sarsgaard has starred in critically acclaimed films such as An Education, Garden State, and Shattered Glass, and he played a pivotal role in season three of AMC’s The Killing. He’s currently starring in the new film by Kelly Reichardt, Night Moves.

Sarsgaard’s passion for movies was evident when chatting about his Five Favorite Films, something he found both exciting and overwhelming. He admitted to just recently seeing Sunset Boulevard and was simply taken by it, saying, “The end of that movie when she comes [down the stairs]… It’s a classic. You know when you watch an older movie like that and it’s still so riveting?” In the end, it didn’t make his final cut, but read on to see what did.


My Bodyguard (Tony Bill, 1980; 85% Tomatometer)



A total favorite from when I was a kid was My Bodyguard. When they’re riding together on the motorcycle it’s like one of my favorite images in a movie. I think I also like the story. That type of story has always really appealed to me, two outsiders coming together like that, basically united as a cause who are from opposite sides of the tracks. That movie is just so awesome. The two of them on the motorcycle in that one really… It’s just that image, that feeling. I watched it at the perfect time in my life. I watched it when it came out in the theater. It was very meaningful to me growing up.

Lawrence of Arabia (David Lean, 1962; 99% Tomatometer)



The next one I was going to say, which is Lawrence of Arabia, I actually just saw for the first time last year. I saw it projected at a theater with the intermission and everything. It was just so awesome, and I loved that it’s “introducing” Peter O’Toole. The character’s so complex and interesting and perverse and heroic and everything in a huge movie and it’s never going to happen again to have a character in front of a movie that’s that big, that’s that complicated. The scene where he’s getting, like, whatever is happening to him… It’s wild. I love that movie.

I love the trailer for that movie too. When they did the re-release of it several years ago, the only trailer that they had for it was just a shot of the desert and him walking towards the camera. That’s the whole trailer.

There’s a million shots they could have shown, of course. Well that one’s got a motorcycle as well. Maybe there’s a theme developing?

Wendy and Lucy (Kelly Reichardt, 2008; 85% Tomatometer)



I’m going to throw down a Kelly Reichardt next. It’s this movie Wendy and Lucy. I really love that film. It’s a movie about a woman who lives with her dog, and it’s so spellbinding, and Michelle (Williams), I just love her in that movie. I love that character; I’m so interested in that person. Who would ever dare to think that you could make a movie that was that intimate and small and about something so apparently inconsequential? Of course, she’s also looking for a place to live; she’s homeless.

The Dresser (Peter Yates, 1983; 100% Tomatometer)



Here’s another one I really like. I really like the relationship and the acting in a movie called The Dresser with Tom Courtenay and Albert Finney. Albert Finney is an aging Shakespearean actor who’s falling to pieces in his mind, and Tom Courtenay’s whole career depends on dressing this guy and he’s the only one who can get him through the show. You see all the people who depend on this guy to be able to do it, you know, in order for them to have their lives, and how important the theater is to them. I’ve always really been into the theater, even before I was an actor. And I love Tom Courtenay.

The Hunt (Thomas Vinterberg, 2013; 93% Tomatometer)



The Hunt. It’s a Danish movie about a guy (Mads Mikkelsen) and he’s been accused of molesting a kid. The other thing that’s great in that movie is he’s got a very noble quality as a man who believes in himself. He’s the kind of guy that if it were to happen to him, the self-righteous indignation, at first, completely f***s him. He rejects it so hard and then he looks guilty. The self-preservation is… He’s not trying to explain himself at all because it’s so insulting: a great quality to act.

And that’s like what’s great is that the actor in that film helps solve the puzzle of the movie. If an actor played it differently… What’s great is his flaw; his character flaw is what makes the whole storyline happen. If he could just be a little more direct and not so disdainful, more kind of humble and understanding, it wouldn’t have all gone down. It’s just because he circles the wagons way too quickly; he gets angry too quickly and just makes himself look guilty. So, yeah. I love films like that where you find yourself yelling back at the screen.

A Separation (Asghar Farhadi, 2011; 99% Tomatometer)



What was that film, by the way, that came out? It was nominated for an Academy Award. It was an Iranian film.

A Separation.

Yeah. That has to be on my list. I’m going to give you six. That film, I would say, is a perfect movie. It is perfectly made. It’s like, every element in it sings.

When did you see A Separation, and did you see it with anyone?

Yeah, I saw A Separation with my wife and it’s just so well plotted. It’s like the distance that that movie travels, the journey that it takes you on, is so massive. Incredible.


Night Moves opens in limited release this week.

This week at the movies, we’ve got a legendary villainess (Maleficent, starring Angelina Jolie and Elle Fanning) and some silly cowpokes (A Million Ways to Die in the West, starring Seth MacFarlane and Charlize Theron). What do the critics have to say?



Maleficent

54%

In the past few years, audiences have been treated to a tough-as-nails Snow White, an emotionally complex Snow Queen, and, ahem, Hansel & Gretel: Witch Hunters. Maleficent offers a more sympathetic take on the evil fairy queen from Sleeping Beauty, but critics say that an outstanding performance from Angelina Jolie and some striking visuals can’t redeem the movie’s slack narrative and uncertain tone. Maleficent (Jolie), a powerful fairy, is betrayed by a childhood friend, who becomes a king; in turn, she places a curse upon his daughter. As the child grows up, however, Maleficent reconsiders her feelings, even as the king plots her destruction. The pundits say Maleficent deserves credit for putting a feminist spin on an old tale, but the movie can’t quite live up to its thoughtful premise — or Jolie’s inspired work in the title role. (Check out this week’s Total Recall, in which we count down Jolie’s best-reviewed movies, as well as our video interviews with Jolie and other members of the cast.)



A Million Ways to Die in the West

33%

Some comedies fail because they’re short on gags. On the other end of the spectrum, critics say the problem with A Million Ways to Die in the West is that it has too many — writer/director/star Seth MacFarlane packs so many jokes into this Western spoof that the most inventive comic moments are often elbowed aside by scatological smuttiness. MacFarlane stars as Albert, a cowardly rancher in a wild west town who falls for Anna (Charlize Theron), who’s handy with a gun. However, Anna is married to a wanted outlaw, and soon Albert is in his crosshairs. The pundits say A Million Ways to Die in the West has an appealing cast and some really big laughs, but overall, it’s a few notches below its obvious inspiration — Mel BrooksBlazing Saddles. (Flip through our gallery of memorable Western comedies.)

Also opening this week in limited release:

Loving the alien: Scarlett Johansson in Jonathan Glazer’s Under the Skin, one of the hits at Venice.

With this year’s diverse Toronto International Film Festival underway, and both the New York and London fests soon to follow, summer blockbuster malaise has given way — for critics, anyway — to the beginning of that months-long circus known as awards season. To get things rolling, here’s a look at 15 of the most buzzed-about titles to look out for from the just-wrapped Venice film festival — with the critics weighing in on new stuff from the likes of Miyazaki, Glazer, Gilliam, Cuarón and (yes, yet another) Coppola.

1. Gravity

Though it screened out of competition, Alfonso Cuarón’s long-overdue return was met with arguably the loudest critical applause, and with the raves now extending to Toronto, the buzz on the Children of Men director’s tense space thriller Gravity is nearing fever pitch. Sandra Bullock and George Clooney star as astronauts cut adrift in the void after their shuttle is destroyed, with Cuarón delivering an experience that has thus far left critics breathless. When no less than James Cameron declares it “the best space film ever done,” you can consider the stakes effectively raised.

2. The Wind Rises

It goes without saying that a new Miyazaki will be at the top of any must-see list, but this time it’s all the more compelling — and terribly bittersweet — given the director’s shock announcement at Venice that The Wind Rises will be his final film. And this time he really, really means it. Miyazaki’s first feature since 2009’s Ponyo is a more personal, mature affair, continuing the director’s obsession with flight in its story of the designer of Japan’s WWII fighter planes. It’s already been an enormous hit in Miyazaki’s home nation, and reviews so far are strong. One can only hope he changes his mind about retiring. Again.

3. Night Moves

With Old Joy, Wendy and Lucy and Meek’s Cutoff, Kelly Reichardt has been on a major roll — and it looks as though the director’s latest, the eco-action thriller Night Moves, is set to continue her critical winning streak. Jesse Eisenberg, Dakota Fanning and Peter Saarsgard play environmentalists en route to demolish a dam, a premise that, by most accounts, has been elevated by the filmmaker’s trademark touch. Reichardt “takes this volatile story,” writes Xan Brooks in The Guardian, “and handles it with care and precision, as if transporting unstable nitroglycerin.”

4. Under the Skin

In what surely comprises some of the more inspired casting of late, Scarlett Johansson plays an alien in human form, wandering through Scotland in search of men to prey upon. If the pitch sounds like B-grade sci-fi, then director Jonathan Glazer — who hasn’t made a feature since 2004’s Birth — has by many accounts crafted a distinct original, with Film.com’s William Goss calling it a “surreal study of an outsider examining our world with a clinical fascination, driven by a cryptic purpose, more akin to David Bowie’s visitor in The Man Who Fell to Earth.” Under the Skin has proved otherwise divisive with Venice critics, however, which only makes it more exciting to see.

5. Tom at the Farm

Still just 24 and with four feature films to his name, French-Canadian filmmaker Xavier Dolan will be hearing the label “precocious” for some time to come — and with good reason. Last year’s epic, hyperstylized melodrama Laurence Anyways upped the director’s ambition and creative ante, and Tom at the Farm seems to have pared back the indulgence but not the talent. “A kinky queer noir detailing the dangers awaiting a gay Montreal hipster as he journeys to the homophobic heartland for his lover’s funeral,” writes Guy Lodge at Variety, “it’s an improbably exciting match of knife-edge storytelling and a florid vintage aesthetic.” Let’s hope the film gets a wider theatrical release in the US than Dolan’s last.

6. Joe

Since his “return to form” with this year’s well-reviewed Prince Avalanche, David Gordon Green has found himself back in critics’ favor — and anticipation has been piqued for his latest effort, Joe. Nicolas Cage is apparently back on serious acting form as an ex-con who forms an unlikely friendship with a 15-year-old (Tye Sheridan, who won the young acting prize at Venice), and Green has made a dark, rural companion piece to to the more comedic Avalanche. Time‘s Richard Corliss says Cage’s performance “recalls why, before his megastardom, he was considered one of cinema’s most powerful and subtle actors.” It must be the beard.

7. Locke

For anyone who wanted to spend 90 minutes alone on a road trip with Bane, this is your movie. Eastern Promises writer Stephen Knight’s Locke is just that — a minimalist piece consisting of Tom Hardy traversing the English motorways while talking on his phone — and it is, at the very least, a feat of vocal prowess. “If you are asking an audience to listen to one man talking for an hour and a half,” offers Robbie Collin at The Telegraph, “you had better make sure he is worth listening to, and minute-by-minute, Hardy has you spellbound.” It’s comforting to know that Hardy’s voice will be comprehensible this time.

8. The Zero Theorem

A Terry Gilliam movie actually finding its way to the screen is such a rare event these days that even when the results seem mixed — and The Zero Theorem is reportedly in that category — they’re worth some curiosity. The veteran filmmaker’s first effort since the flawed-but-fascinating Imaginarium of Doctor Parnassus, Theorem stars Christoph Waltz as a computer architect on the verge of solving the riddle of existence — or losing his mind. Gilliam has likened it to his 21st-century Brazil, which has been a problem for some: “At best,” claims Variety‘s Leslie Felperin, it “momentarily recalls the dystopian whimsy of the director’s best-loved effort.” Still, who knows when we’ll see his next movie?

9. Palo Alto

Not only does the Coppola family make fine wine, it just keeps cranking out the filmmakers — the latest being Gia Coppola, Francis’s granddaughter and Sofia’s niece. And if those aren’t industry connections enough, Coppola’s debut, Palo Alto, is based on a series of stories by James Franco, concerning the wayward lives of bored, affluent California teens. The usual charges of nepotism aside, plenty of encouraging notices have been forthcoming: writing for The Hollywood Reporter, Todd McCarthy suggests it’s “the best feature film directed by someone named Coppola in a number of years.” It’ll be interesting to see how it measures against her aunt’s sublime teen-portrait debut, The Virgin Suicides.

10. Child of God

James Franco — yes, him again — takes a break from brokering world peace and wearing phallic noses to direct his 34th (okay, third) feature this year, and the word from Venice is positive. Having last tackled Faulkner, Franco adapts Cormac McCarthy’s Child of God, a Tennessee-set story about a grieving young man descending into society’s murky moral fringe. At The Village Voice, Stephanie Zacharek likens Scott Haze’s Lester to “Denis Lavant’s sewer-dwelling troglodyte in Leos Carax’s Holy Motors, only with about half the charisma.” Which, frankly, is still plenty more than most.

11. Philomena

Steve Coogan shared the Best Screenplay award at Venice for his work on Philomena, which critics are mostly calling The Queen director Stephen Frears’s best work in some time. Comic Coogan plays it straight as a BBC journalist slumming on a human interest story about Judi Dench’s Philomena, a working class Londoner whose child was taken from her long ago. While it’s potentially middlebrow melodrama, plenty of critics have come away impressed with a film geared to please crowds. “It’s a terrifically moving film,” says Dave Calhoun at London’s Time Out, and “offers a healthy dose of cheekiness to counter the gloom.”

12. Why Don’t You Play in Hell?

Fans of Japanese genre filmmaker Sion Sono — director of 2010’s cult fave Cold Fish — will no doubt be clamoring for Why Don’t You Play in Hell?, in which, as the Telegraph‘s Robbie Collin handily summarizes, “two rival groups of gangsters agree to slaughter one another on camera for the benefit of a group of wannabe filmmakers, over a decade-long feud partly rooted in a toothpaste advert.” Such a typically demented premise will be enough to hook the faithful, though not all reviews have been enamored with the schlock and violence.

13. Moebius

Then again, Sono’s genre splatter may well be family-friendly relative to the infamy of Ki-duk Kim’s worlds of twisted perversity. The South Korean auteur won the Golden Lion at Venice last year with Pieta, a cheery incest drama, and Moebius appears to be a variation on the theme. Still, audiences won’t be at a loss for provocation: “A gloriously off-the-charts study in perversity,” enthuses Variety‘s Leslie Felperin, “Kim Ki-duk’s Moebius is right inside the Korean king-of-wackitude’s wheelhouse of outrageous cinema.”

14. Stray Dogs

Graced with Venice’s Grand Jury prize, the latest from the acclaimed filmmaker Tsai Ming-liang will be high on the must-see list of every cinephile — or anyone, really, who wants to see an epic long-take of a man eating a cabbage his daughter had used for her doll’s makeshift head. “It takes no less than three shots and maybe two edits before you know — for absolute certain — that you’re in the close company of a master filmmaker,” raves David Jenkins at Little White Lies, while the Financial Times‘ Nigel Andrews says Stray Dogs “poetry goes straight to the heart and solar plexus.”

15. Sorcerer

Finally, a film that deserves special mention: William Friedkin’s 1977 thriller Sorcerer, which was screened, at long last in its director’s restored version, in honor of the New Hollywood veteran’s Golden Lion for Lifetime Achievement. Friedkin’s too-oft overlooked remake of The Wages of Fear has been tangled up in release issues for years, but will finally see the light again in theaters, and on Blu-ray, in the near future. According to the filmmaker, it’s the “best print ever of Sorcerer.” It’s also a masterpiece, and should not be missed.


Sacro GRA‘s director Gianfranco Rosi.

VENICE: While much of the critical buzz surrounded the likes of Alfonso Cuarón’s out-of-competition Gravity, the Golden Lion at the 70th Venice Film Festival has quietly gone to Gianfranco Rosi’s Sacro GRA, an Italian documentary in which the filmmaker spent two years touring Rome’s enormous ring road — the “GRA” — and chronicling the disparate lives around it.

The festival jury, lead by veteran filmmaker Bernardo Bertolucci and including the eclectic likes of Carrie Fisher, Pablo Larraín and Ryuichi Sakamoto, awarded the Silver Lion for Best Director to Alexandros Avranas for Miss Violence, while the newly-created Grand Jury Prize went to Ming-Liang Tsai’s critically-favored Stray Dogs.

The sole US competition winner was Tye Sheridan, who took home the Best Young Actor award for his performance alongside Nicolas Cage in David Gordon Green’s Joe. Earlier, director William Friedkin was presented with the festival’s Golden Lion for Lifetime Achievement, where he held a screening of his personally restored, soon-to-be-released 1977 masterpiece Sorcerer.

Other winners included Themis Panou (Best Actor, Miss Violence), Elena Cotta (Best Actress, A Street in Palermo), Steve Coogan and Jeff Pope (Best Screenplay, for Stephen Frears’ Philomena), and The Police Officer’s Wife (Winner of the Special Jury Prize).

Check back for a critical round up of the most talked-about features from the festival, including the latest from Jonathan Glazer, Hayao Miyazaki, Terry Gilliam and Xavier Dolan. In the meantime, here’s the trailer for Sacro GRA. It’s in Italian, but you can get a sense of the film.

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