Jim Hemphill's new Talkhouse column about the hidden gems of VOD kicks off with underrated stuntman/auteur David Barrett's 2012 feature debut.
Jim Hemphill on the new Netflix show about grief, a show which mines complex and conflicting emotions for both laughs and profundity.
Talkhouse's TV columnist is swept up by AMC's expansive Pierce Brosnan-led family saga, which has just started its second season.
Filmmaker and die-hard PLL fan Jim Hemphill gives the skinny on the pilot of one of the most anticipated new shows of the season.
Jim Hemphill pays tribute to the beloved actor, who showed his true brilliance as a performer in John McNaughton's overlooked 1996 crime drama.
Jim Hemphill admires the latest addition to the small-screen realm of Law & Order creator Dick Wolf.
Is it possible that Rawson Marshall Thurber's latest Dwayne Johnson vehicle is an action movie for the ages?
Jim Hemphill, a man who watches too much (but still nowhere near enough to keep up!), picks a few favorites from the past 12 months.
Jim Hemphill sings the praises of the incredibly enjoyable CBS procedural Bull, which returns for its third season tonight.
Lifelong Landis devotee Jim Hemphill revisits his little-seen first film, reminding him just what he loves about the veteran director’s work.
The beloved action movie subgenre has lain dormant for some time, but writer-producer Lenkov has kept its spirit alive in two of his CBS shows.
Alan Cumming's gay lead character has been a major talking point, but there is much more besides that sets this series apart.
Jim Hemphill spotlights a director whose standout talents show she's clearly ready to make the leap to the big screen.
Jim Hemphill on the grizzled performer's newly released book, and the qualities that make him exceptional.
Jim Hemphill pays tribute to the director whose aptitude at portraying potent sexuality made him the ideal fit for the Fifty Shades franchise.
Talkhouse Film's TV columnist gives the lowdown on the latest (and boldest) iteration of Gene Roddenberry's classic sci-fi series.
Talkhouse's TV columnist Jim Hemphill breaks down a few of his favorites from a very busy year on the small screen.
Jim Hemphill on the surprising pleasures of the newly rebooted TV franchise, which delivers both high-octane thrills and a real social perspective.
Jim Hemphill shares his fondness for quirky small-screen cuts of big movies, and one of these that's finally been released for the first time.
Jim Hemphill is surprised to find the latest Blumhouse joint is legitimately great, and wonders if a golden age of horror is imminent.
Jim Hemphill enumerates the many ways in which he loves the series which has finally provided Téa Leoni with the role she deserves.
Jim Hemphill on the deliriously enjoyable CW show, which is so referential it makes Tarantino look like Bresson.
Jim Hemphill explains why this spinoff of a long-running cop show has some of the best qualities of Howard Hawks' 1959 classic Western.
Jim Hemphill sits down with his friend and former collaborator Lea Thompson as her directorial debut world premieres at L.A. Film Festival.
Jim Hemphill celebrates the creative expansion the polarizing comedian's new Netflix film has afforded him.
Jim Hemphill on why he fell for Freeform's addictive new series about the on-screen/off-screen romance between two young movie stars.
Jim Hemphill on the abundance of riches to be found in the Showtime series, which brings the best of cinema to the small screen.
Jim Hemphill sings the praises of Callie Khouri's country-music themed drama, which has thrived since its move from ABC to CMT.
Alex Cox, Joe Dante, James Marsh, Alex Winter and more remember some of the cinematic greats who passed away during 2016.
Jim Hemphill attempts the improbable task of listing the best – or at least most pleasurable – that the small screen had to offer in the past year.
In his regular TV column, Jim Hemphill gets caught up in the ABC crime series, which channels Soderbergh and Hitchcock at their entertaining best.
Jim Hemphill champions one of the most ambitious (and satisfying) movies of 2016, a wildly original Western that defies expectations at all turns.
If you've ever kind of wished the whole political establishment would be wiped out in one fell swoop, then this is the TV show for you.
Stand-up Tig Notaro, along with Diablo Cody and Louis CK, adds tragedy to the traditional TV comedy to redefine and deepen the form.
The new TNT show not only does justice to the great crime movie it's taken from, but also deepens its complex and compelling narrative.
With echoes of classic Lumet and two outstanding central performances, Shades of Blue is a rare welcome addition to the crowded cop show genre.
Jim Hemphill casts his ballot in favor of the latest entry in James DeMonaco's unlikely franchise, which portrays an America devoid of heroes.
Jim Hemphill recalls a memorable impromptu encounter with one his idols, the reclusive Michael Cimino, who passed away on July 2.
Hidden away on Freeform (formerly ABC Family), one of the best political shows on TV right now isn’t even (overtly) about politics.
Jim Hemphill finds a dense, complex TV show, hidden in plain sight on network television, that digs deep into the current political moment.
Jim Hemphill looks at how Joe Dante’s unnervingly prescient absurdist satire anticipated the current political climate in the U.S.
Talkhouse Film contributors dig around on IMDb, Amazon, Netflix and more to find the most hilariously outspoken takes on their movies.
An unsolicited Blu-ray converts a non-believer in big-screen superhero movies into a devoted fan of a trio of TV comic book shows.
25 years after its release, it's time for a critical reappraisal of Peter Bogdanovich's unfairly dismissed follow-up to his most famous film.
The lesser-known films from horror's most prolific and successful production company may be even bolder and more exciting than its bigger titles.
Christopher Nolan is one of the major filmmakers trying to keep celluloid alive, but does film truly provide a superior viewing experience to digital?
A journey into the often mediocre but oddly intoxicating realm of cut-price franchises.
Is it possible that the best film of 2014 is actually the fourth release version of a movie from 2004?!