Jim Hemphill

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, just back from the Telluride Film Festival, reports on the revelatory new version of one of the great director's most troubled movies.

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.

Our staff share behind the scenes commentary and context with each talk, plus an unreleased outtake.

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 makes the case for Daniel Waters' subversive summer camp movie, a film that has never been recognized for its unsettling brilliance.

A wildly sumptuous feast for the senses, the undervalued sequel is due for the same critical reevaluation as Sorcerer.

Jim Hemphill celebrates the creative expansion the polarizing comedian's new Netflix film has afforded him.