One-stop shopping for your Academy Award needs.
Over the moon about 2013 releases.
Hustling through the holiday…what to see, and flee.
The table is set for awards season.
Searching for Brian De Palma and other lost 70s filmmakers.
Something for the kids, and the hungover.
Spring Breakers, a splash of Upstream Color, and more.
It’s showtime! Oscars, Top Ten 2012, and the greatest movies ever made.
Argo love yourself–you’re a nominee!
Calling foul on the National Film Registry’s bush League decision.
Does Killing Them Softly make the grade?
Or why I want to strangle DCP.
A long time ago in suburban New Jersey…
1982, when E.T. phoned home (and Spock, Spicoli, Garp, and The Thing all placed calls).
Taking aim at the No. 1 phenomenon.
Bob Cashill ponders a few matters on his way to a Top Ten list.
The mother of year-end lists: Popdose’s Top Albums of 2011.
“TCM Remembers,” and a few personal thoughts on the year’s departed.
Al, don’t hang up. We need to talk about these movies of yours.
Clowns! Babies! Crab monsters! And more, from Attack the Block to Zombie.
Bob Cashill witnesses A Separation, experiences Melancholia, and feels Shame.
Bob Cashill returns to the multiplex and ponders “Moneyball,” “Drive,” and “The Debt.”
Bob Cashill isn’t all smiles over the top-grossing adaptation.
Is a movie that’s 90% awful still worth seeing? If it’s (Optimus) prime Michael Bay, yes, almost. Other, less awful movies are also considered.
Robin Wright may be The Conspirator in Robert Redford’s Lincoln assassination film, as Michelle Williams goes west in Meek’s Cutoff.
Bob Cashill takes a look at some of the less familiar chapters from a storied career.
No fooling — Insidious, from the makers of Saw, gets things bumping in the night. Plus, Hilary Swank is The Resident, and the phantasmagorical Santa Sangre, both on DVD.
London’s hottest show is now playing at a movie theater near you. And a former bride of Frankenstein stars in The Tourist, now on Blu-ray.
Who’s that girl? Why it’s Jane Eyre, back again, as a new documentary revisits The Boys in the Band and some Monsters cause trouble on home screens.
Liam Neeson wants to know who he is in Unknown. Characters in Another Year would rather be someone else. Bob Cashill analyzes these identity crises.