Emmy Rossum at Godiva. "It's more than just chocolate when your senses bring you to a place of reward and enchantment." Such was Executive Chef ...
When I'm in New York, the Tribeca screenings have to get in line with all the other things on my calendar -- and most of those take precedence over spending Saturday or Sunday at a multiplex in Battery Park City watching films I probably wouldn't review even if they were released.
So kicks off the Season of the Witch with Wednesday night's premier of American Horror Story: Coven, aptly christened 'Bitchcraft.' Within the first s...
If Murder House was about the horrors of adultery and family and Asylum was a terrifying exploration of sanity and institutionalism, American Horror Story: Coven is about persecution and survival.
Something wicked Wednesday comes. It's the season three premier of Ryan Murphy's FX hit show-or miniseries, if you believe the Emmy's-American Horror...
Comedy is subjective, so there are bound to be haters for We're the Millers. But, speaking as someone who enjoys vulgar humor that is both mean and smart, I can tell you that I laughed a lot during this brisk, consistently funny movie.
Fraud, redemption, suicide, fear of failure, the ineluctable dance with death, alcoholism, and the addictive joy of creating art -- these are a few of the recurring themes in some of the highlights from this year's Tribeca Film Festival.
In Celeste and Jesse Forever, co-writers Rashida Jones and Will McCormack inject new life into the often tired romantic-comedy genre.
Both are about intense relationships between young adults that end -- and yet go on. Both are stories of love that has grown one-sided. And both ache with the unavoidable self-pity that goes along with that kind of situation -- while finding the laughs in that same circumstance.
Ever since the 1951 book The Catcher In the Rye, stories about angsty, alienated, financially secure (mostly male) teenagers in existential crisis over "what it all means" have become a staple of movies, TV and literature.
This slight coming-of-age tale works better than it has any right to, thanks to the performances by the young actors and several of the supporting cast.
It is rare that a film spends such a large chunk of its running time basically admonishing its own existence. Yet Wes Craven's return to the world of Scream is not only a relatively unnecessary franchise revival, it wears its uselessness on its sleeve.
Is the Scream series still relevant for today's generation? Who better to ask than Emma Roberts, part of the fresh faced cast Wes Craven brought in to keep Ghostface busy once again.
Three filmmakers, two films, two comic views on how we humans strive, through all adversity, to find new ways to frak ourselves up. I know I promised ...
This is a low-key movie about coping with depression and anxiety, and it's disappointingly insubstantial. Worse, the title amounts to false advertising: It's not really that funny.
The Winning Season follows the three-act, sports-movie formula, but it works much better than you'd expect because of the real desperation Sam Rockwell brings to his character.