For most of this novel we’re stuck following a person who has no goal, no dream, no quest. And his seeming not to care what happens to him enough to do anything about it, ever, made it impossible for me to care either.

Unlike The Wolf of Wall Street’s unending carnival of misbehavior, Spring Breakers asks more interesting questions, and is stronger for it.

Upstream Color is beautiful, complex, and hard to stop thinking about. Whether Carruth earned that success with the work itself, or its mystique and cultural standing compelled me to build a critical case on its behalf, I’m still not sure.

Telling a story from multiple points of view makes two terrific books more than entertaining.

Key & Peele push their sketches past the simple parody of Portlandia; and that willingness to go the extra distance, to find moments of universal, emotional truth in their comedy, makes them the best sketch show on television.

Can’t name a classic comedy of 2012? Try a write-in candidate from last year that seems to have slipped under most people’s radar: the minor-league hockey comedy, Goon.

The Master asks big questions about what it means to believe or be believed. But does it deserve the reverence?

Another guest spot on The Brad Bogner Show, and a promise to return after the long summer off.

Chronice’s use of cameras does little to outweigh the multiple awkward exchanges it causes, and yet remains a solid entry in the superhero genre.

The excess of cultural options and opinions have made it so that the pressure to stay current could simultaneously keep us from ever living in the present. So what do we do instead?