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Tabitha Brown has parlayed her nearly 5 million TikTok followers and successful YouTube channel into a Food Network show. For her latest project, she's going plant-based.

A.V. Rockwell’s film “A Thousand and One” takes us into a world of struggle, strife and a refusal to give in, Dan Webster says in his review.

If you thought “Hereditary” was weird or “Midsommar” was too long, those films’ director, Ari Aster, proves you haven’t seen anything yet. Nathan Weinbender says Aster’s latest, “Beau Is Afraid,” is a three-hour descent into paranoia and madness… and it’s brilliant. If you like that sort of thing.

Full of things that go bump in the night, “A Haunting in Venice” is as much an Agatha Christie adaptation as it is a straight-up horror film. It’s Kenneth Branagh’s third film as detective Hercule Poirot, and Nathan Weinbender says it’s his best so far.

From the director of the recent “Halloween” reboot series, “The Exorcist: Believer” is intended to introduce a new generation to a 50-year-old horror classic. But Nathan Weinbender says the power of Christ should compel you to stay far, far away from this boring would-be shocker.

Since its release a few weeks ago, Sofia Coppola’s “Priscilla” has started a lot of conversation. It’s an adaptation of Priscilla Presley’s memoir about her life with Elvis, and Nathan Weinbender says it’s also one of Coppola’s best films.

The musical remake of the classic comedy “Mean Girls” has been a box office champ for the last few weeks. But Nathan Weinbender says you’re better off waiting for the Broadway tour to come back through town—or putting on your old DVD copy of the original film.

Francis Ford Coppola’s “Megalopolis” came out last week to dismal box office receipts and venomous reviews. Nathan Weinbender says it’s a fascinating failure, a bizarre and singular vision from a filmmaker contending with his own career—and his own mortality.

Jafar Panahi’s Palme d’Or-winning “It Was Just an Accident,” now playing at the Magic Lantern, follows one man’s tireless attempts to justify revenge. Nathan Weinbender says it’s a propulsive thriller and a blistering rebuke of the Iranian government.

In his latest film “Saturday Night,” director Jason Reitman takes us behind the scenes for a fictionalized look at the making of the first episode of “SNL.” Nathan Weinbender says some of the movie works and a lot of it doesn’t, meaning it’s not unlike the show it’s about.