Lisa Laman

Every Autumn, television viewers prepare for a Halloween tradition that's stretched on for decades now. That would be the annual new edition in the "Treehouse of Horror" anthology series courtesy of "The Simpsons." Initially, the 2nd season "Simpsons" episode "Treehouse of Horror" was a one-off exercise that nobody could imagine continuing for ages to come. However, continue it has and with great results to boot.

Imposter Syndrome. Depression. Anxiety. Existential dread. These are some of the psychological afflictions shared by countless souls, yet re...

Typical comic book movies end with gigantic explosions, a CG laser beam shooting into the sky, and maybe the debut of a new superhero who will get explored in a potential sequel. "Clayface," though, isn't a typical comic book movie. It's a lot closer in tone and aesthetic to body horror films or "Darkman" than, say, "Black Adam." So one shouldn't be surprised that this feature charts its own path when it comes to its ending.

In the 2026 documentary "The History of Concrete," director/central subject John Wilson mentions a workshop he had recently attended for writing a Hallmark movie. Footage of this presentation sees a woman explaining the rigid rules for what to do and avoid in crafting a Hallmark feature. Specifically, she emphasizes that people come to these titles looking for escapism, so it's key to avoid any brutal elements from reality. This isn't just interesting given how much Hallmark movies contrast from Wilson's modus operandi of filming grimy everyday life. It also makes apparent the very core of Hallmark cinema that everyone was already subconsciously aware of.

So far, the DC Universe hasn't been shy on delivering Easter Eggs that hint at this franchise's larger world. Various details you missed in James Gunn's "Superman," for instance, included nods to the existence of Gotham City and multiple eras of classic DC heroes. Then there's recent TV programs like the second "Peacemaker" season, which featured a character explicitly referencing Bludhaven, while "Lanterns" confirmed that DC Comics fixtures like The Phantom Zone and Midway City are alive and well. Imminent DC Universe productions like "The People v. Gorilla Grodd" and "Man of Tomorrow" promise to only further deepen the wealth of Easter eggs across this franchise.

Somehow, 2026 is starting to wind down. Though there's multiple months and several major motion pictures left in the year, it's clearer than ever there's only a finite amount of time left in the year that gave the world "You Can See Everything" and "Obsession." With that reality in mind, it's time to start looking to the future. More specifically, to examine what 2027 and its cinema scene are starting to look like. If 2026 was the year cinema finally "came back" after 2020's COVID shutdowns, then all eyes will be on 2027 to keep the momentum going. Given the stacked release schedule of 2027, there's a good chance this year will extend the cinematic goods.

Every decade must have at least one gritty live-action take on the Robin Hood mythos. It's practically a law at this point, as evidenced by other recent overhauls of the character headlined by Russell Crowe and Taron Egerton. Writer-director Michael Sarnoski delivered the most recent iteration of this puzzlingly enduring concept with "The Death of Robin Hood."

It’s moronic. General Western perceptions that animation is only “for children” and can “only” tell certain stories are preposterous. Anyone...

Jake Gyllenhaal's expansive career has taken him all over the place. In the 2020s, he's been busy headlining multiple Guy Ritchie star vehicles and action-oriented titles like "Road House." In the 2000s and 2010s, meanwhile, he was an arthouse cinema staple as he worked under the direction of filmmakers like David Fincher, Sam Mendes, Ang Lee, Denis Villeneuve, Bong Joon-ho, and Nicole Holofcener, among others. This range has ensured that Gyllenhaal has fans in every corner of cultural map. Though he's often known for anchoring grounded critically acclaimed titles that are fixtures of award season, Gyllenhaal's filmography has also featured several voyages into the world of sci-fi cinema.

Walter Koenig has died at the age of 90, but his best moment as Pavel Chekov in all of Star Trek will live inside of us until the stars fade away.