A clutch of Emmy-winning TV shows are outshone by the return of Foyle's War, a British mystery series that's regained its footing. Also out now are two more great Criterion releases, the godawful Hangover III and a clutch of movies perfect for Halloween.
Watch the new sitcom Dads, but not because it's good, far from it, but because it's an example of being incredibly offensive without being clever. You know when a white guy tells racist jokes in front of an audience of black people?
The brilliance of Breaking Bad is that we can't stop watching Walt. Walter White is very smart, highly charismatic, identity challenged, sociopathically inclined, and amorphous. But -- is he alone in this breed?
Richard Pryor made some great movies. But he also made a lot of crappy ones, especially later on in his career. So it's good to have this boxed set putting the spotlight back on what he did best: stand-up.
Taking a vacation can be all about escape -- and the same can be said about losing ourselves in the movies and TV shows we love. It's only natural, then, for film and TV buffs to combine the two when we travel by visiting famous filming locations around the world.
The process is grueling, exhausting, insulting, exciting and demeaning. It is ridiculously imperfect (as every fall season proves). It is a kind of hell week, only it lasts a year. So why would otherwise sane people (well, most of them, anyway) subject themselves to this?
Is our quest for professional success trumping our ability to be truly intimate and open to everything that comes with a relationship? I have come to find with my own professional success that it does come at a cost to my personal life.
TV stars were people you felt comfortable inviting into your home -- they were family; you didn't have to clean up for them. They could join you for dinner, or right after dinner with the dirty dishes still stacked up.
What have we got on tap? Bill Murray as FDR and other new releases, a great Jackie Chan double bill, one of Barbra Streisand's lesser works, a clutch of documentaries, some titles for baseball fans to watch on their team's off day, a string of auteurist gems, and a TV roundup.
Vancouver-born actress Luisa D'Oliveira stars as young cop Poppy Wisnefski in the CBC series Cracked. Cracked follows a team of cops and psychiatric professionals who make up a Psych Crimes and Crisis unit in Toronto.
'What has Oprah got that you don't got?' The answer would be, her own TV network. But now you know you don't need one. And you don't need $315 million either. What do you need? Well, a camera. A living room. A personality. And YouTube... or something like that.
They may be skilled at sea, but these TV stars of Deadliest Catch are still getting used to the politics of Twitter. Not only do they feel guilty for wasting time and ignoring their families when they get sucked into social media, but it's also damaging their mojo while fishing.
Forty-three years after Alfred Hitchcock's cinema-changing film Psycho hit theaters for the first time, A&E debuts its new series Bates Motel, which digs deeper and expands on the unusual relationship between Norman Bates and his mother.
If ABC is Charlie Brown, the Thursday-night 8 p.m. time slot is the proverbial football they keep unsuccessfully trying to kick. So what is it about this one hour in prime time that takes great shows (and some mediocre ones) and sucks them into a ratings vortex of impending doom?
Just as data-driven analytics has been applied to baseball, finance, education, medicine, and, yes, feature films, it, too, can be applied to TV to remarkable success. It's a business calling for a new standard operating procedure