Film

Clay Liford tries to work through his issues with the current fixation on spoilers and get to the root of why it all annoys him so much.

Sasha Gordon, writer-director of It Had to Be You, on those disappointing moments when life falls short of the movies.

Hope Dickson Leach on her struggles to combine parenthood and a filmmaking career, and how her debut feature, The Levelling, has changed her.

Jim Hemphill bangs the drum for Michael Goi's Megan is Missing, the one found-footage movie he thinks is worth a damn.

Writer-director Zach Clark recounts his adventures, both on and off screen, at the beloved genre film festival in Austin, Texas.

Kentucker Audley continues his series of video essays with a new entry that focuses on the classic '90s drama starring Richard Dreyfuss.

Daniel Schechter on the late Garry Shandling's innovative, iconoclastic sitcom and its special place in television history.

Terence Nance on Mira Nair's Disney movie about a young Ugandan chess prodigy, a film that's as uplifting as it promises to be.

Alex Ross Perry ponders the problems caused by the non-disclosure of digital film sales numbers and the inability of movies to stand out on VOD.

Stephen Winter waxes lyrical about the brilliant young comedic voice and her new HBO show, the first ever to be fronted by an African-American woman.

Jennifer Reeder sets the record straight once and for all about female directors and big action movies. Yes, they want to make them. And now.

Jim Hosking, director of The Greasy Strangler, makes the case for the value and importance of cinema being, you know, enjoyable.