Surveilled
Farrow is an ideal centerpiece presence for “Surveilled,” because he’s both a good reporter and a crisp communicator.
TV/Streaming
Jimmy O. Yang Shines in Excellent “Interior Chinatown”
A sharp, stylish commentary on the lack of Asian representation in ’90s media.
Taylor Sheridan’s Well Runs Dry in “Landman”
A review of the new show from the creator of Yellowstone, Mayor of Kingstown, and Tulsa King.
Elton John: Never Too Late
If you’re familiar with the outlines of John’s life, you won’t be surprised by the major milestones.
Prime Video’s “Cross” Adaptation is Killer
Alex Cross finally gets the adaptation he deserves.
“Arcane” Makes Triumphant Return to Netflix
A review of the first half of the new season of Netflix’s “Arcane”.
Max’s “Dune: Prophecy” Fails to Capture the Magic of Villeneuve’s Films, Herbert’s Novels
A review of the new Max show set in the world of Frank Herbert’s Dune.
Apple TV’s “Silo” Returns for Daring Second Season
A TV review of what might be Apple’s best show.
The Piano Lesson
“The Piano Lesson” acknowledges that discussion and engagement must be the first step to resolution.
Pedro Páramo
The space to showcase his strengths while working out some of the storytelling mechanics.
Eddie Redmayne, Lashana Lynch Bring Gravity to “The Day of the Jackal”
“The Day of the Jackal” is one of this season’s generally great surprises.
Music By John Williams
Like a John Williams score, it lingers in the mind after the final credits have ended.
Emilia Pérez
It’s a deliriously rhapsodic concoction, at times preposterous in what the lyrics of its Spanish-language songs aim to convey, and others quite affecting.
HBO’s “Like Water for Chocolate” is Downright Sumptuous
A review of the HBO series adaptation of “Like Water for Chocolate.”
10 Great Horror Films from 2024 (and Where to Watch Them)
10 of the best horror films of 2024 and where to watch them this Halloween week.
Netflix’s Sharp “The Diplomat” Offers Escapism for Political Junkies
A review of the second season of Netflix’s The Diplomat.
Don’t Move
The threadbare 93-minute two-hander contains very few cogent observations about its fractured characters or its supposed suspense.
