The most recent episode delved into Philip's harrowing past, while Elizabeth committed the show's most shocking murder to date.
The Atlantic's film critic forecasts the winners who will walk the Dolby stage this Sunday, and tips his hat to the worthy candidates the Academy missed, but who shouldn't be forgotten.
It's getting difficult to untangle all the different layers of deception.
Political mockery thrives on a more cynical spirit than Veep and the American House of Cards can muster.
The movie adaptation of E. L. James's bestseller succeeds in toning down the book's most egregious elements—but reveals that there's very little left underneath.
Matthew Vaughn's new film about an elite intelligence service combines winking spy-film tropes with impeccably choreographed (and very violent) action.
The Jennings finally made up. By suffering together through an amateur root canal.
From its damsel-in-distress lead to its ridiculous animal hybrids, the Wachowskis' $175 million space opera is an utter mess.
Can Philip and Elizabeth's marriage survive the third season?
Kevin McDonald's submarine thriller may not be a masterpiece, but the Jude Law-led genre movie stands out at a time when very little else at the multiplex does.
The packed third-season premiere threw viewers (and Paige) in at the deep end.
Chris Hemsworth grunts his way through Michael Mann's woeful sop to global audiences.
Oscar Isaac dazzles in J. C. Chandor’s gripping, understated thriller.
Director Ava DuVernay wisely focuses her sober, stately film on a few critical months.
The Atlantic's film critic picks the top titles—and doles out some less-conventional awards.
Not only does Peter Jackson's trilogy fail on its own terms, it retrospectively diminishes the Lord of the Rings' success.
With its first-rate effects and haphazard cast, Ridley Scott's biblical epic is a movie full of sound and fury, signifying nothing.
The modestly amusing spinoff, assessed by its target demographic
Would it have been better if they hadn't split it in two? Probably. But it's still awfully good.
Director Bennett Miller's latest—starring Channing Tatum, Steve Carell, and Mark Ruffalo—is expertly crafted but emotionally remote.