Devin Gordon

"Radiohead may never stop being a band to admire, but they're no longer a band you can love," we declared in 2003.

Our e-mail conversation on why the media have been reluctant to label Joseph Stack a terrorist has generated a lot of critical discussion among prominent political bloggers.

Yesterday President Obama gave an interview with reporters from Bloomberg BusinessWeek. The full story will hit newsstands Friday, but excerpts are trickling out and causing a stir.

The long-awaited 'Watchmen' movie takes loyalty to new limits. And that's exactly what's wrong with it.

IF AMERICAN HISTORY is any guide, the movement to create yet another federal-level "czar"—this time for the auto industry—should send a clear signal to U.S. consumers: buy Japanese.

When sports junkies describe the games we love as art, the Rafael Nadal–Roger Federer final at last year's Wimbledon is what we mean. It stretched across an entire Sunday, including five hours of much-needed, nerve-settling rain delays—one stupefying rally after another.

There are two comeback stories in director Darren Aronofsky's new film, "The Wrestler." The first stars Randy (the Ram) Robinson, a washed-up pro—when the tights come off, the hearing aid goes on—who won't quit the only job he knows how to do.

If history is a guide, the movement to create yet another federal-level "czar"—this time for the auto industry—should send a clear signal to U.S. consumers: buy Japanese.

In politics, every crisis gets its own cliché, and the near collapse of the U.S. financial system has already spawned a groaner: the false dichotomy pitting "Wall Street" versus "Main Street." Whenever Barack Obama and John McCain babble about our dueling American boulevards—and they both do it, a lot—you can practically hear the implied sound effects.

Chris Rock stalked onto the stage at Harlem's Apollo Theater late on a Friday night earlier this month and opened his fifth HBO comedy special by explaining why it had been so long since the fourth.

Ten years ago, the prospect of Robert De Niro and Al Pacino on screen together would've provoked a very different reaction than the one I have when I see posters for their new cop flick, "Righteous Kill." Then, I'd have raced you to the theater.

In the Russell Crowe movie "Gladiator," there's a scene in which Maximus gets tossed onto the floor of the Colosseum into a swarm of hulking warriors and roaring tigers, and the crowd, smelling blood, leans forward in anticipation.

Once upon a time, the prospect of Robert De Niro and Al Pacino on screen together, mano a mano, would've provoked a wildly different reaction than the one I have whenever I see posters for their new cop flick, "Righteous Kill." Twenty years ago I'd have raced you to the theater.

With 'The Dark Knight,' Christopher Nolan tried for the near-impossible: a bigger, better sequel.

"The Foot Fist Way," a new comedy made for pennies by a bunch of pals from the North Carolina School of the Arts, is not a particularly good movie. Many of the actors can't act.

Everything wears out its welcome eventually. In this periodic feature, we say when.

Everything wears out its welcome eventually. In this periodic feature, we say when.

Because we win. We're arrogant. We're on TV. And did I mention that we win?

"See this right here?" says the young black man, dribbling a basketball in New York's rugged Coney Island. "This here can get you a long way." Some people are unsettled by the idea that a game can be such a potent symbol of escape for so many inner-city teens, but it's an ivory-tower argument at odds with street-level reality.

An exclusive Q&A with David Simon, creator of HBO's 'The Wire,' on the show's final season.

This Stage Isn't Big Enough for Two Seabiscuits History repeats itself, but not without a few wrinkles. We make the comparisons—and then we pick them apart.

For five seasons, critics have worshiped 'The Wire'—and lamented that more people don't. Now's your last chance to catch what may be TV's best drama ever.

Daunted by filming 'The Golden Compass,' part one of Philip Pullman's fantasy trilogy, Chris Weitz quit. Good thing he came back.

As a football fan, I'm tired of hearing about how the commercials are the main event on Super Bowl Sunday. Maybe that was true seven or eight years ago, when hyperclever, ultrapricey advertisements were still a novelty and Super Bowl contests were annual blowouts.

A few minutes with Cesar Millan—TV's 'Dog Whisperer'—was all it took to win back a skeptic.

Maybe this is silly, but we've always found it charming when famous people get nervous around other famous people. When two-time Oscar winner Sally Field arrived for our first-ever Emmy Roundtable, America Ferrera, the radiant young star of ABC's freshman hit series "Ugly Betty," stayed bolted to the floor. "I'd go up to her, but I'd just say something dumb," Ferrera said. "All I could say is 'Hi.' I mean, what do you say to Sally Field?" Fortunately, "Entourage" nominee Jeremy Piven broke the...

Over the course of her new film, "The Brave One," Jodie Foster kills eight people. The two-time Oscar winner plays a public-radio host named Erica Bain who survives a brutal attack in New York's Central Park during which her fiancé is killed.

They're not hip. Or sexy. But they are 'Superbad.'

According to "Saturday Night Live" wunderkind and comedy cinephile Andy Samberg, the ideal length for a funny movie is approximately 90 minutes. Samberg knows this because he's done the research.

If you weren't a fan of "The X-Files," you probably don't know how funny it could often be. Sure it was creepy, and weird, and confusing. But every so often, the writers would throw in an oddball episode with a dry sense of humor—and David Duchovny, as the tireless, laconic Agent Fox Mulder, would hit it out of the park.