Amy Schumer has been breaking down doors in comedy, but there are some other doors that need to be broken down as well.
I truly care that quality films are made. But who actually wins an Oscar makes absolutely no difference to my life.
Philip Seymour Hoffman was an actor who turned out to be better at inhabiting his characters' skin than his own.
With a new live show and colorization, Lucy is back. Her message was damaging enough the first time — do we really need to revisit it?
Jackie Atkins dismissed the student work at the Cape May Film Festival as not worth watching. That perspective ignores the learning curve that all artists experience.
My parents were appalled by the blatant race prejudice they found in San Antonio in 1958. But they lacked the standing and courage to do much about it. Yet in their own quiet way they passed a message to their more assertive children.
Contrary to its misleading title, The Master isn't about a false messiah but about one of his pathetic acolytes. Director Paul Thomas Anderson seems not to understand that sumptuous photography and penetrating acting are no substitute for story.
Like most adults, I've had my share of encounters with death. But nothing haunts me quite like the senseless loss of my first childhood love, perhaps because the emotions I felt then were so genuine.
Lena Dunham's “Girls,” on HBO, has been called the voice of the generation. But I can't help wondering: What generation is she addressing? My generation of women changed the world in the 1970s. To judge from “Girls,” not much has changed since then.
I long for Nora Ephron's recognition, especially since I'm just as witty and urbane as she was. So what was the secret of her success? Let me suggest a few possibilities.