The new Amy Schumer vehicle tries to be a feminist fable—and fails badly.
Floyd Landis, a former teammate of the cyclist’s, just won more than $1 million in a legal case against Armstrong. Here are his thoughts on the suit, cycling, and his onetime rival.
On the show, men cry, embrace empathy, and are open of heart. Why one writer wishes he’d been able to watch it as a kid.
Maynard James Keenan’s second-most-influential band is back after 14 years to elegantly vent about iPhones and plastic surgery.
Lucrecia Martel’s first narrative film in nine years follows an 18th-century Spanish official in charge of a remote South American colony.
As the political soap nears its end, it’s worth recalling the hour that embodied both the show’s early promise and unfortunate excesses.
Meg Wolitzer’s novel is a timely, dynamic examination of women and power that male readers and gatekeepers should take seriously.
William Friedkin’s new documentary, The Devil and Father Amorth, sees the director film a real-life exorcism while considering the legacy of his horror classic.
A new, two-part play in London affirms the importance of connecting with the cultural past.
A new show takes some artistic liberties in telling the story of the country’s massive, ongoing corruption probe. Is it undermining democracy in the process?
The best Saturday Night Live sketch in ages was a bizarre Les Misérables homage that recalled the show’s glory days.
The first non-classical, non-jazz winner of the Pulitzer Prize for Music needs the accolade less than the accolade needs him.
Botany is seeing a mini-revival as a plot device, adding a transgressive edge to recent films like Phantom Thread and Annihilation.
The pop star’s dazzling Coachella set further honed her career-long fascination with democratizing messages through mass movement.
The famed festival is trying to strictly define cinema as a theatrical experience, but it may be fighting a losing war.
Why you should root for great teams and great players—and abandon your sad-sack local franchise
The dessert-focused continuation of the Netflix series is a fascinating study of creative ego.
A tale of goons, no-show jobs, and a legendary minor-league franchise that helped land its owner in prison
The director Lynne Ramsay’s latest film, starring Joaquin Phoenix, is high on style and talent, but low on plot, narrative, or emotional connection.
Jason Aldean’s new album doesn’t reference the mass shooting at his Las Vegas show last year, but that in itself is a statement.
Dwayne Johnson and a giant CGI gorilla headline this disaster flick, which doesn’t even really work as a cheap, fun watch.