The Invisible Man
A mean, handsomely-styled and absorbing thriller.
Brian Tallerico has covered television, film, video games, Blu-ray/DVD, interviews, and entertainment news for almost two decades online, on radio, and in print.
Tallerico is the Editor of RogerEbert.com. In addition, he is the Editor of Magill's Cinema Annual, a regular guest on radio stations throughout the Midwest, a TV writer for Vulture.com, a contributor at Rolling Stone, and freelancer for multiple outlets, including The New York Times. He also serves as President of the Chicago Film Critics Association and co-produces the Chicago Critics Film Festival every May.
You can follow him on Twitter @Brian_Tallerico. Read his answers to our Movie Love Questionnaire here.
Spike Lee captures "Mike Tyson: Undisptued Truth," his Broadway one-man show starring Mike Tyson, on film.
The fiftieth anniversary of the assassination of John F. Kennedy brings out a lot of television, from sober docs to hammy reenactments, with conspiracy theories of all stripes.
The title of the second episode of NBC's "Dracula" may be called "A Whiff of Sulfur" but the program has a different, stale odor, feeling like the product of inevitability more than creative spark.
With excellent performances from Dominic West and Helena Bonham Carter, "Burton and Taylor" gets to the core of the dynamic between two Hollywood greats.
AMC has recaptured the idea of event TV, shows you have to watch when they air. How did they do that?
This HBO drama about Muhammad Ali's court case over his conscientious objector status is surprisingly inert.
With incredibly strong central performances and thematically dense subject matter, "Masters of Sex," a drama about sex researchers Masters and Johnson, serves as a nice partner to Showtime's returning "Homeland."
After spending years in the long comedy shadow of regular collaborator and scene-stealer Ricky Gervais, Stephen Merchant steps into the awkward spotlight of HBO's new comedy "Hello Ladies."
Netflix's move into television content has been bold and much-hyped. Can they get us beyond the old binary of comedy and drama that has dominated television for so long?
Brian Tallerico muses (groan) on how "Sons of Anarchy" has shifted from Shakespearean tragedy to classical tragedy as a model.