Asimov adaptations onscreen, it seems, will always be fundamentally different from the author’s published works.
In “Audience-ology,” Kevin Goetz shares insights from his extensive experience digging into audience opinions about movies.
“Dirty Baby” is “muttish and raunchy,” but its dirtiness feels constrained and bitter rather than liberating or glorious.
Although “House of Gucci” is fun, don’t expect froth. It’s a “Godfather”-scale family saga worthy of its Reagan-era setting.
This is definitely Julia Child 101, but it’s an accessible introduction to the life and work of a culinary pioneer.
Director Daniel Fish’s radical reinvention of Rodgers and Hammerstein’s musical shines in a production now touring nationally.
This accessible, absorbing production is ample reason to pause the endless content stream and check in again with live theater.
Madeline Island is like a leather-bound blank book. It’s a beautiful setting, but the island’s real value lies in the stories you write here.
if you’re walking into a Wes Anderson movie, you should know what you’re getting just as surely as someone cracking The New Yorker.
Denis Villeneuve’s “Dune” is an engrossing epic, truly a must-see theatrical experience. It’s everything you hope and more.
“The Last Duel” has a Me Too point to make, but it knows the points of its battling beefcakes’ literal lances are what it’s really selling.
David S. Goyer’s series continues to often feel as if it’s lifted the words but not the music of Asimov’s classic stories.