There is no way not to see “Mank” as a tale of self-destruction and professional suicide.

That “Chicago 7” is turning up on Netflix at this precise moment is no accident, the moment being serious.

“The Devil All the Time” is a story of fathers and sons, serial killers, religious frauds and fundamentalist lunatics.

“Copperfield” on the page or on the screen is a moral fable, the story of a boy growing into a moral man

‘Fatima,’ gives both the innocent faithful and the innocently faithless their due.

“Flannery” is an apologia for O’Connor but, like any good defense, it takes the position that she doesn’t need one.

Mantel’s portrait of More is of a self-serving whiner with a death wish. But what must always be remembered is that she is creating fiction.

One of the basics of comedy is the element of surprise, and Hannah Gadsby’s “Nanette” surprised us by not being comedy.

Encountering Roberto Rossellini’s “The Flowers of St. Francis,” which turns 70 this year, will be an odd experience for most first-timers.

When someone refers to a “foul” system, he is not talking only about law enforcement and prosecution.