TROS makes too many asks, with no narrative payoff, until the plot becomes a series of conveniences that add up to set pieces intended solely to make you feel one way or another at the disservice of the story itself.

Emotionally overwrought and narratively underdeveloped, Arrival echoes Interstellar, despite intriguing premise and breathtaking visuals.

The Duffer Brother's new genre flick Stranger Things is bursting at the seams with nostalgia, but for want of new ideas.

Some secrets need to remain buried, and the 2012 Mayan apocalypse is one of them. X-Files love runs deep for me, as it does for many fans. Here are my thoughts about the revival.

Critics praise Mr. Robot for going against the grain, but its textbook conformity to cyberpunk tropes reveals it’s doing anything but: this is cyberpunk for the masses.

Despite the wildly different approaches to storytelling Mad Max & Tomorrowland take to the apocalypse, I was surprised to find their message is the same.

Despite all these achievements, Inception's narrative flaws keep it from leaving a permanent impression on my brain, like Dark City and The Matrix have.

Despite all the complaints about hokey dialogue and clichés in Avatar, we have one very interesting transhumanist concept I haven't seen depicted on the big screen anywhere else.

What I like about Rorschach is that, on the most superficial level, he embodies the antithesis to utilitarian compromise, a "black and white" perspective in a morally indifferent universe.

To some, the death of Dragon magazine did not come as a surprise. "D&D was dead when Third Edition came out," says Christina Sills, owner of Wildgate Games in Deltona, Florida, over the phone, "so when Dragon was done, it just proved what we already knew."