Orson (Jon Hamm) is the newest employee at the cheekily-named The Authority. He’s a typical benumbed office cog with a muted brown suit and flat disposition to boot. Working in the offices of The Authority, he encounters gossipy, unfriendly coworkers and a droning boss. He doesn’t mind if he sticks to his schedule and completes

Ben is a failed film student who spends his days managing an arthouse movie theater and watching Criterion discs such as Ozu’s “Good Morning.” He can’t fathom a world where he isn’t the prime arbiter of taste. Much to his chagrin, however, Ben loves white women. His attraction is tested when he hires the oddball

Benson and Randy are incredibly striking contrasts as these nightmarish characters, intriguing conceits of this Blumhouse project not sticking to the rules in part because it’s going straight to the modern grindhouses of streaming anyway. Much of the movie relies on their odd pairing after such an abhorrent opening scene and in place of any greater

As for the graphics—everything you see on the center console screen is made from scratch by the incomparable Greg Herman, a Creative Director, Director, Writer, designer, and animation/VFX wizard. This includes the visualization of the car’s “voice.” He approached the car’s “voice” graphic as though it were some kind of digital mandala, a shifting and

Buy it here  Special FeaturesNone Now streaming on: “Breathless” (Criterion) I recently discussed the “gateway” films for young viewers to discover the most influential filmmakers of all time. What’s the first Hitchcock you show someone? The first Scorsese? The first Varda? I think the first Godard might be “Breathless” (or maybe “Band of Outsiders”) as

Co-written by Kargman and William Day Frank, “Susie Searches” starts strong but loses its way after our heroine solves her biggest case yet: the disappearance of local campus heartthrob Jesse Wilcox (Alex Wolff), a meditation YouTube star whose good looks and kind words make him a favorite of just about everyone he meets. Before the

Thankfully, co-writer/director Rodrigo Sorogoyen’s focus on Antoine and Xan’s emotionally charged stalemate keeps “The Beasts” from devolving into yet another quasi-artful and pseudo-moral genre movie that pits intolerant bumpkins against ignorant city-slickers. Mood trumps morality in “The Beasts,” partly because Sorogoyen, in collaboration with director of photography Alejandro de Pablo, art director Jose Tirado, and

The real draw of a new season of “Futurama” is the return of beloved characters and the performers who voice them. Billy West, Katey Sagal, John DiMaggio, Phil LaMarr, and Lauren Tom are back. And not only does the voice work feel entirely of a piece with where the show was at in the 2000s

It takes time for “While We Watched” to find momentum: Shukla’s vérité approach spends the first half hour or so notating the broad problem. What follows is a series of blaring clips of blustering Indian anchors vying for the public’s attention by offering up polarizing red meat. For them, that amounts to denouncing any dissenter

With “Fear the Night,” LaBute clearly aims to push viewers’ buttons, especially using the oft-repeated threat of sexual violence. Some dramatic irony mildly re-casts the movie’s otherwise formulaic conflict in a harsher light, but not much gets complicated by this extra knowledge, especially not LaBute’s tin-eared dialogue nor his indifferent direction. In theory, Tess and