Film, TV & Streaming

We meet Laurie in her super-sealed woodsy compound, almost 40 years to the day after the murders that took place in 1978 — this film negates all the previous Halloween sequels

Adapted from a British series of the same name by Girls dream team Lena Dunham and Jenni Konner, Camping seems destined to spark yet another debate about patently “unlikable” female protagonists

Netflix has recently offered two modest stabs at this stabbing-est of genres, a pair of animated series, one of which bristles with promise

The depictions of drug and alcohol use, sex (Stevie getting it on with an older girl) and violence (both self-inflicted and by others) are difficult to watch, as Hill brings a fly-on-the-wall candor to his depiction of youth and the film’s era

That impulse — to continually stoke our fury with Twitter takes, cable news shouters and breaking news updates — gets lanced throughout The Oath, which writer-director-star Barinholtz has set in a now just as fevered as ours

Pretty much the whole film consists of phone exchanges between Asger Holm (Jakob Cedergren), a police officer who has been temporarily demoted to working the phones, and others out in the field as he struggles to save a woman who is being abducted by her ex-husband

The Denver Film Festival will showcase 130 feature films.

The teacher in question, played by an excellent Maggie Gyllenhaal, takes an insistent interest in the life and (apparent) art of 5-year-old student Jimmy (Parker Sevak), who occasionally goes into a shuffling trance and mumble-recites evocative verses of his own invention

Bad Times is a much better time in its mysterious middle, which tingles with darkly comic possibility, than in its final 40 minutes, when Goddard’s cards are on the table

Crafting his pseudo-realistic account of the crimes and trial of anti-Islamic murderer Anders Behring Breivik (Anders Danielsen Lie), writer-director Greengrass … examines the attacks through the pinhole lens of post-disaster trauma

None of Ashby’s movies were remotely autobiographical — the projects were often instigated by other, bigger names such as Warren Beatty and Jane Fonda — and yet he still found something surprisingly personal in the material

A tense, terse drama that plunges us headlong and handheld into the high-risk world of the space race in the 1960s, the film spares few moments for reflection or reverie

Each beat of this plays out with exquisite delicacy, as does the exchange where the crook lays out, with exacting detail, how he’d rob this diner if it were a bank — and then takes it all back, letting her think he was joking

The Hate U Give takes time to focus on the nuances of Starr’s life, on the ways Williamson has split her consciousness, on the effort of code-switching, on the layers of self that Starr must sort through in everyday interactions

This alien being, which helpfully calls itself Venom, is a fairly terrifying creation: a many-fanged, slobbery, snake-tongued monster that loves to eat people’s heads

The Denver Film Festival is back for its 41st edition, running October 31 through November 10 and showcasing more than 250 films.

Double-stuffed with kill squads, killer ’80s couture, and mood-killing howlers, Fernando Leon de Aranoa’s Loving Pablo is more a greatest hits than a story, the kind of radically compressed life-of-a-legend movie where everything happens in a giddy, ridiculous gush

Who’d have thought a show about the origins of a shyster/lawyer with a fake name whose clients are murderous drug dealers would turn out to be TV’s most satisfying depiction of an honest day’s work?

Its leads, feminist writer Rachel (Kathryn Hahn) and Richard (Paul Giamatti), a one-time wunderkind of no-budget theatrical productions, find themselves desperate to conceive a child even as the doctors they pay (with borrowed money) thousands to speak frankly of the odds

The idea practically sells itself: Kevin Hart has to take night classes to get his high school degree, and Tiffany Haddish plays his suffer-no-bullshit teacher

To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.”

The re-enactment and its subsequent cinematic portrayal were both the brainchild of Greene himself, and they mark the latest chapter in the career of a documentarian whose work keeps finding new ways to probe the gray area between authenticity and performance