For a season, Maurice Sendak’s iconic Wild Things have become specifically what Dave Eggers and Spike Jonze want them to be … but what is that? Janet Potter goes out to meet them.

Ruben Fleischer’s Zombieland straddles the divide between light family fare and flesh-eating mayhem; Deirdre Crimmins is naturally intrigued.

Julia Child is all the rage: a new movie (Julie & Julia) and a couple of related books (My Life in France and the gastronomically-inclined Gourmet’s Rhapsody), etc. Sharon Fulton samples the wares.

He transformed the American musical – and Judy Garland. Now Vincente Minelli has finally got his due – Brad Jones reviews America’s Dark Dreamer by Emanuel Levy.

The Academy often forgets Oscar-caliber performances from the first half of the year, but movie maven Sarah Hudson doesn’t! Here are some of her earliest nominations.

Their cinematic pairings are the stuff of movie legend, but do their movies stand the test of time? Sarah Hudson takes in the films of Spencer Tracy and Katharine Hepburn.

J.J. Abrams’ long-awaited Star Trek reboot has hit theaters, and Steve Donoghue looks into whether it carries on a proud legacy, or else overturns it.

You’d think any brand of movie that could produce Super Mario Bros. would have no advocates left, but you’d be wrong! Our gaming expert Phillip A. Lobo diagnoses the problem to date and charts a new path for video game movies.

More than any other dynasty in history, the Tudors are ready for their close-up. In this installment of his “Year with the Tudors,” Steve Donoghue leads us on a royal progress through film archives to access the heart and stomach of these undying superstars.

Lianne Habinek forges into the beguiling part-adult, part-childish, part-real, part-dreamlike films of Michel Gondry

Studio interference severely compromised Ridley Scott’s visually stunning 1982 film Blade Runner. Now with Blade Runner: The Final Cut on DVD, Brian Kirker explores the remastering of a masterpiece.

Uncanny Bodies identifies an early affinity between talking pictures and the horror genre. Adam Golaski finds this chillingly true, but sees Robert Spadoni as the wrong man to explain it.