Harry Shearer is hardly the first person to mine comedy from the rich vein where Richard Nixon shines.
But no one has done it more faithfully than Shearer, who, in his new series, mimics Nixon unimpeachably while re-enacting real-life scenes as the man known to detractors as Tricky Dick - all to hilarious effect.
Here’s an offbeat mystery: Why did detective Hercule Poirot’s final U.S. small-screen bow come not on his familiar stage, PBS, but on a niche website devoted to streaming British whodunits and dramas?
And why did Robert L. Johnson, the business mogul who founded Black Entertainment Television and sold it to Viacom for $3 billion, buy Acorn Media Group and gladden the hearts of Anglophiles everywhere?
If you’ve ever seen any of director Patrik-Ian Polk’s work, you know one thing for certain: Polk is a master of the ensemble cast. Beginning with Punks and continuing through Noah’s Arc (both the movie and the TV series), as well as The Skinny, Polk has a knack for creating characters who are smart, sincere and sensitive.
Former Food Network star Paula Deen is ready to tell her side of the story behind the racist remark that decimated her career, but you'll need to pay to hear it.
Deen has been working on a documentary about herself and her downfall — triggered in 2013 by her acknowledgment that she'd used a racial slur in the past — but it will only be available to subscribers of her new website, the Paula Deen Network. Recipe content on the site will be free, but viewers will need to pay $9.99 a month to view videos.
When we first see Michael Keaton in “Birdman,” Alejandro G. Inarritu’s bracingly inventive and accomplished new film about fame, relevance, self-worth and lots of other intense stuff, he’s sitting in his white undies, in the middle of a dressing room.
No, really in the middle. Like, in the air. He’s levitating.
The predominant image throughout David Fincher’s films, from the uncovered horrors of “Se7en” to the Machiavellian maneuverings of “House of Cards,” has been a flashlight beam cutting through the dark.
In his latest, the Gillian Flynn adaptation “Gone Girl,” he shines it into the deepest depths of not a serial killer’s mind or a schizophrenic’s madness, but on a far more terrifying psychological minefield: Marriage. In “Gone Girl,” Fincher has crafted a portrait of a couple rivaled in toxicity only by “Who’s Afraid of Virginia Woolf?” and one with just as much — if more subtle — roleplaying.
As with every film, there’s a story behind the story of Life Partners, which the Milwaukee Film Festival screens at 7:15 p.m. on Oct. 5 at Milwaukee’s Oriental Theatre. That story begins the day producer Jordana Mollick asked her friends Susanna Fogel and Joni Lefkowitz for a contribution to the annual play festival she started in 2011.
The internet TV service Hulu plans to stream a nine-hour series based on Stephen King's time-travel novel about the Kennedy assassination.
Hulu announced its plan for "11/22/63," produced by King and J.J. Abrams, on Sept. 22.
It’s not surprising that a companion art book to the new animated film directed by Jorge R. Gutierrez and produced by Guillermo del Toro has already been released. Steeped in Mexican folk art and inspired by that country’s holiday the Day of the Dead, “The Book of Life” is a visually stunning effort that makes up for its formulaic storyline with an enchanting atmosphere that sweeps you into its fantastical world, or in this case, three worlds.
Bookended by amusing contemporary segments in which a sassy museum tour guide (Christina Applegate) hosts a group of skeptical school kids, the story concerns the romantic triangle among the free-spirited Maria (Zoe Saldana) and her two suitors: Manolo (Diego Luna), the scion of a long line of bullfighters, who really wants to be a singer/guitarist; and the vainglorious Joaquin (Channing Tatum), a military hero who struts around with a huge display of medals on his chest.
52 Tuesdays opens with a surprising discovery for its young protagonist: With the quick swing of a door, her mother reveals he is transgender and preparing to transition from female to male. But Billie (Tilda Cobham-Hervey) could take this in stride were it not for the follow-up request — to move out and live with her father, in order to give her mother time to transition in her absence. The two will still see each other, but only on Tuesday afternoons.
Andre Benjamin was uniquely qualified to play Jimi Hendrix in the film “Jimi: All Is By My Side,” and not just because his colorfully cosmic style has long owed something to the ‘60s icon.
The film, written and directed by “12 Years a Slave” screenwriter John Ridley, is a portrait of Hendrix in 1966 — a then somewhat aimless 24-year-old playing backup guitar — finding himself as a frontman and being elevated by the blues-rock scene of Swinging London. As the often reticent half of hip-hop duo Outkast, Benjamin, too, knows something about the psychology of a performer discovering his onstage swagger.
In the new big-screen adaption of the best-selling Jonathan Topper novel “This Is Where I Leave You,” Tina Fey and Jason Bateman portray siblings with tight ties that bind.
Just minutes after sitting down with the actors recently as they promoted the sprawling ensemble dramedy, opening today, it was clear that Fey, 44, and Bateman, 45, had developed a real-life rapport, as well. A sampling: