LaBruce sets the record straight about Mark Rydell's unfairly maligned adaptation of D.H. Lawrence's lesbian-themed novella.
Steve Lippman is moved by the great writer-director's most personal and deeply felt film, a semi-autobiographical portrait set in 1950s New York City.
Jim Hemphill enumerates the many ways in which he loves the series which has finally provided Téa Leoni with the role she deserves.
The Canadian auteur shines a light on the excellent but mostly forgotten work of the husband-and-wife filmmaking team from the '60s and '70s.
LaBruce extols the virtues of Frank and Eleanor Perry’s shocking coming-of-age drama that captures the loss of innocence of the late 1960s.
Jim Hemphill on the deliriously enjoyable CW show, which is so referential it makes Tarantino look like Bresson.
Steve Lippman continues his exploration of everyone's favorite cinematic decade by revisiting Forman's inexplicably overlooked social satire.
LaBruce inducts the 1980 feminist teensploitation movie starring Tatum O'Neal and Kristy McNichol into his alternative canon.
Jim Hemphill explains why this spinoff of a long-running cop show has some of the best qualities of Howard Hawks' 1959 classic Western.
Talkhouse Film's champion of the cinematic underdog shares his affection for Arthur Hiller's pre-AIDS gay melodrama.