What makes this somewhat derivative movie soar is its music.
Roy Cohn was much more pernicious than Joe McCarthy because he was far more adept at undercutting the relevance of so-called American values.
To its credit, this “true crime” documentary treats the tragedy of each victim with empathy and respect.
During a period when we are facing a ferocious pandemic, the biggest Civil Rights movement since the ’60s, and the possibility of flying snakes, it is the perfect time to remake the cheery The Baby-Sitters Club.
The opportunity to see the culture-changing Broadway phenomenon Hamilton on Disney Plus, sucked up all the arts oxygen over the Fourth of July weekend.
As a potentially thoughtful drama (hey, this is PBS) set during a revolutionary and colonialist era, Beecham House falls as flat as papadum.
It has its flaws, but Love, Victor is a fun teen rom-com hat isn’t entirely rosy.
From the mid-’60s to around 1972, Laurel Canyon became the epicenter of a magical musical interlude that gave birth to some of the most iconic and timeless music of a generation.
Maybe Space Force will figure out what kind of comedy it is and launch into a rejuvenated second season turn. Though that assumes it will get a second season.
Much of the fun of Ramy comes from its deadpan embrace of heightened absurdity.