As "E.T. the Extra-Terrestrial" celebrates its 40th anniversary, Henry Thomas, who starred as Elliott in the film, is reflecting on the movie and the fame that came with it.
Just when you thought you finally committed most of the names of the ever-growing Suicide Squad to memory, DC goes and casts a new crew of antiheroes in "Black Adam," its latest bid for box office domination.
In terms of Nolan brothers productions, "The Peripheral" appears to have been made for people who think "Tenet" and the fourth season of "Westworld" weren't complicated enough. Adapting William Gibson's sci-fi novel, this Amazon series again deals with themes of virtual reality and sort-of time travel, but in a grinding fashion that should push it to the periphery of one's "watch" list, if not off it entirely.
Think of "Ticket to Paradise" like a postcard of beautiful people having fun in a beautiful place and you'll get along just fine. Giving it much more thought than that won't help this rom-com vehicle for George Clooney and Julia Roberts, although the "com" part proves a trifle deficient in a movie that's significantly better when it's sweet than salty.
As Swifties around the world countdown to midnight and the release of Taylor Swift's tenth album "Midnights," she's tried to keep her fans happy by dropping a few hints about her new music in recent days.
Some pop culture moments, as they age, feel more and more like bouts of collective madness. Why did everyone hate Anne Hathaway all of those years ago? Around 2013, despite winning a slew of awards for her role in "Les Miserables," it seemed the actress couldn't catch a break. Despite a lack of scandal or outright offensive behavior, she was "the star we love to loathe," " the bad kind of theater kid," "the kind of person who inexplicably bugs people."
Certain phrases don't translate from English into Korean. "Film noir" and "the male gaze" are two of them. Sat with his interpreter in a hotel suite in one of London's more upmarket junket venues, director Park Chan-wook says them frequently, two islands of English in a sea of Korean, part of a long answer about how "Decision To Leave," his latest film, engages with both.
Producer Ryan Murphy has premiered three series in roughly a month, so a degree of overlap is perhaps understandable. Even so, the new season of his long-running FX franchise, this one dubbed "American Horror Story: NYC," feels like a companion in its central themes to "Monster: The Jeffrey Dahmer Story," which premiered last month on Netflix.