Peele’s facility for precise timing and uncanny atmospherics indicates a filmmaker who’s absorbed the work of the genre masters and applied the lessons therein to fresh, stimulating purposes.

As the first position Executive Producer for the audience and critical favorite, Beugg has come a long way from the days when he left a job in energy and environmental policy in Washington, D.C. to move to Hollywood and make movies.

They don’t make them like this anymore, and never did make them with such darkling extravagance.

Young viewers will doubtlessly groove on The Lego Batman Movie’s madcap energy, but the film’s model viewer is an adult Batman aficionado who’s followed the hero through countless comic, television, and cinematic iterations.

The film is characteristically rich, engrossing storytelling from one of the living greats of woman-focused drama.

2016—for all its catastrophes and heartbreak in other respects—was a fantastic year to be a cinephile in St. Louis.

A catalog of this year’s cinematic disasters, mediocrities, and uncommon triumphs in the horror genre, ranked from worst to best.

Where “Rogue One” succeeds, it does so smashingly, bringing the Star War universe into fresh territory and providing a captivating perspective on the Empire at the height of its power and on the Rebel Alliance’s more shadowy wetwork.

If it offers nothing else, “Miss Sloane” features the kind of enigmatic, multi-layered antihero role that is rarely written for women.

Disney’s latest comforting confection is also something unexpectedly nifty and novel: a Princess Film for social studies geeks and “Civilization” fanatics.