“Only Murders in the Building” Season 2 Review: New Mystery, More Meta References and Same Solid Humor

“Westworld” Season 4 Review: Dolores, Maeve and Bernard Return for a Very Meta New Batch of Episodes

“Hotel Portofino” Review: New PBS Masterpiece Packs Drama, Mystery and Escapism

“Top Gun: Maverick” Review: Tom Cruise Feels the Need for Speed in Adrenaline-Fueled Sequel

“Ambulance” Review: Michael Bay Will Stress You out with New Jake Gyllenhaal Movie

Celebrating the 50th Anniversary of Sidney Poitier’s Directorial Debut, “Buck and the Preacher”

“The First Lady” Review: Feminism, Civil Rights and Politics in Viola Davis and Michelle Pfeiffer’s New Show

“Anatomy of a Scandal” Review: Sienna Miller’s New Netflix Courtroom Drama Tackles Consent


“Killing Eve” Season 4 Review: Sandra Oh & Jodie Comer’s Thriller Limps Toward Series Finale

Book Check: “Bridgerton” Season 2 vs. “The Viscount Who Loved Me”

“Moonfall” and The Joys of the “Bad” Natural Disaster Movie

“Moon Knight” Review: Not One Oscar Isaac but Two in New Marvel TV Show for Disney+

Lost in the Landscape: Revisionist Westerns to Watch If You Loved “Power of the Dog”

15 Outstanding Stage-to-Film Adaptations

“Bridgerton” Season 2 Review: Netflix’s Hit Show Makes You Forget Regé-Jean Page’s Absence

“The Lost City” Review: Sandra Bullock Returns to Romantic Comedy With Action-Adventure Romp

“Sanditon” Season 2 Review: Jane Austen’s Unfinished Novel Bets on the Ensemble

What in the World is “Nope (2022)” About?

“The Adam Project”: Netflix’s New Adventure Comedy With Ryan Reynolds and a Younger Version of Himself

“Turning Red” Review: Pixar’s New Film Features a Girl and Her Inner Red Panda