Contributor: Paul Asay

Ever since the first motion-picture camera started rolling, the entertainment industry has been fascinated by the family.

Minari is deeply rooted in the earth, a wellspring of both hope and pain, of boundless promise and terrifying disaster.

The Father, of course, is a very sad movie, one that mercilessly marches through the realities of fading by inches.

Limbo is both silly and serious, delightful and, at times, despairing. That’s not an easy mix to get right.

This film hooks into themes of a dangerous man grievously wronged and looking for some terminal retribution.

When people learn what I do, they think it must be great watching movies for a living. But the perk isn’t seeing movies. It’s being able to talk about them.

Archibald’s Next Big Thing Is Here migrates to Peacock as it mixes laughs and mild groans.

Last night, from the opening monologue to the closing credits, the Oscars felt … different.

I’ve found The Chosen to be one of the most compelling biblical adaptations I’ve seen—offering new depth and dimension to age-old truths.

If the screenwriters had throttled back, if they’d kept what you hear as clean as what you see, this Netflix film could’ve been PG.

It’s one thing to tell a difficult story. It’s another to tell a sadistic one.

What starts out as a grotesque horror movie morphs into something more akin to sci-fi about halfway through.

It’s violent and crass and profane, of course. And it still manages to be very dull and tedious anyway.

Younger styles itself as a show for young Millennials. But its mature content inadvertently makes it seem a lot older.

I’d call this a bit of a hidden gem—which seems only appropriate, given that searching for buried treasure is what the movie is built on.