Brian Tallerico

The film’s micro approach to a macro crisis never connects because we’re never given a reason to care about these specific people.

A review of the new spy thriller on FX on Hulu starring Elisabeth Moss, who really can do anything.

While it’s gorgeously shot, Henaine doesn’t allow for a lot of hope. His protagonist thinks he can find a way out of his downward spiral. We know that’s unlikely to happen.

Fallout has finally become a TV series, and it’s just as twisted as fans hoped it would be.

Kim’s Video reaches so hard for quirky profundity that it falls on its face.

While it meanders more often than it should with some pretty slack pacing, strong character work by Neeson and an excellent supporting cast hold it together.

The latest on Blu-ray and streaming includes The Book of Clarence, The Iron Claw, Wonka, The Color Purple, and Criterion editions of Saint Omer and To Die For.

It’s a clever move to make what is essentially two feature-length documentaries about the man, and yet it still somehow feels like some of this story remains untold. That’s just how rich Steve Martin’s career has been.

This is one of the better documentaries of this kind in a long time.

This is one of the better indie comedies in a long time, enjoyable from minute one until the final frame.

The script by Cooper and Bill Collage consistently dips into incoherent plotting and inconsistent characters, and it feels like they think it’s fine to do so because there’s not a single reliable narrator in this mess.

A video game review of the newest Sony exclusive.

Homicide: New York is the latest project from the Dick Wolf content machine, but it lets down the survivors of these headline-grabbing cases, as well as the officers who solved them.

On three trippy sci-fi movies from SXSW, including a standout with Ayo Edebiri.

The film can be a big weighed down in terms of hyperactive editing, but that’s because it’s trying to tell bits and pieces of so many stories.

On four SXSW premieres, including one of the standouts of the fest.

A notable amplification of a noble message.

Immaculate feels like both a throwback to another era of Italian horror and a timely commentary on woman’s bodily autonomy, but it can’t match the flair of the former and lacks the thematic thrust to convey anything resonant about the latter.

This is a ridiculously fun movie, anchored by a movie star in a part that fits him perfectly and a director who really has been working toward this film for his entire career.

Dev Patel pours his entire self into Monkey Man.