This week we celebrate our 100th episode in true comPOSERS fashion: by covering a film and soundtrack that nobody cares about. Not even us. Join us anyway, as romcomPOSERS month continues, for Alan Silvestri's Serendipity.
Make it your beeswax to marathon Wet Hot American Summer: Ten Years Later.
Me and Earl and the Dying is a funny, charming, sweet yet sometimes sad little indie film that's sure to be well received despite its faults.
We sat down with Me and Earl and the Dying Girl's director Alfonso Gomez-Rejon to talk about adapting this novel to the screen, the delicate balance the film strikes between tragedy and comedy, and how to avoid cliches while telling a high school coming-of-age story.
We're giving away tickets to see the Sundance hit Me and Earl and the Dying Girl in Toronto weeks before it's theatrical release, the screening will have the director and cast in attendance for a Q&A following the film.
Talking with Life After Beth writer and director Jeff Baena about crafting a grounded romantic comedy with zombies and empathy.
Hannibal is a show about the pain of empathy, and "Mizumono" hurts. The finale brings the Ravenstag story arc to a conclusion in a brutal way.
When it comes to understanding exactly what to expect from Hannibal, the two most important characters are symbolic representations of who Will Graham and the titular serial killer are not. At least not anymore.
“Tome-Wan” is Hannibal at its most distilled and sustained. Showcasing the series’ underlying dark humour, this is the tightest, most mesmerizing hour of the series. To use the words of Mason Verger: I am enchanted and terrified.
“Ko No Mono” shifts to an unreliable narrator, allowing us to experience the first truly heartbreaking moment in Hannibal. Using the most iconic image from Red Dragon, we also get a glimpse at who’s really pulling the strings in this show.
In addition to being Hannibal’s most self-reflexive hour, “Naka-Choko" features a really steamy sex scene that takes place in two separate rooms and involves four humans, a theremin, and a Manstag.
In “Shiizakana” we are asked to forget the fast paced, twisty-turny, Will Graham-on-trial arc that velocitized our television watching appetites earlier this season, and to get used to the emotional and psychological contemplation of the now classic Hannibal as an episodic nightmare format.
In “Su-Zakana” the cocoon constructed of mystery novel pages, fond pop-culture memories, Hollywood disappointments, and countless other symbols that once encased Hannibal has cracked open, and out of it has come a new and unpredictable kind of butterfly.
The middle hour Hannibal's thirteen episode season, “Yakimono” is tasked with wiping the slate clean for a strong second half story arc. Hannibal Lecter is in complete control and no one, not even characters from the books, are safe from his voracious appetite.
When Dr. Lecter is plucking the strings and writing the notes, Hannibal is thrilling, unpredictable and disgustingly beautiful to look at. In “Futamono” we get all of that, some meta humor, and the most disturbingly delicious looking human leg eaten on network TV. Also a fun dinner party.