Do Trainwreck and Catastrophe herald a resurrection of the rom-com genre? Or merely a grotesque reanimation?
Kathryn Reklis reviews film, TV, and more
Augustine said the lesson's content is not as important as the teacher's desire. Passion is what instructs—and I'm teaching my children Star Wars.
As I watched Inside Out, I found myself thinking about Augustine's assertion that we are what we love and what we hate.
Of all the violence on Game of Thrones, one scene from the fifth season stands out in public opinion as particularly horrific.
U2's subway prank created a strange sort of intimacy and spontaneous community. I felt a similar dynamic at play at a recent funeral.
Watching Inside Amy Schumer or Broad City, you might conclude that sex is all young women think about. There is something refreshing about this.
Scandal and New Girl are not ordinarily “about” race. But as national conversations on police violence intensify, they’ve stepped into the discussion.
Typical superheroes have no religion; they are quasi-religious saviors. This makes the hero of the new Netflix series Daredevil unusual.
The generational gap between 25 and 42 might seem not that great. But Noah Baumbach has explored the subtle differences in many films.
Unbreakable Kimmy Schmidt is a strange combination: a relentlessly upbeat comedy about surviving abuse.
In Better Call Saul, Vince Gilligan takes characters he created for Breaking Bad and deepens and humanizes them
A TV show can present a minority group as "respectable" or as people who are as screwed up as anyone else. Transparent goes with option two.
Fifty Shades of Grey is not a good book. The film is even worse.
Every war movie is in essence a pro-war movie, even when it tries to be against war.
Seven of this year's eight best picture nominees are stories of lone, white heroes—stories that seem out of touch with the times. The exception is Selma.