Jo Livingstone

@Jo_Livingstone

The “Succession” actor’s autobiography is pleasingly horrible.

How silent cinema’s slapstick genius choreographed the age of viral video

Denzel Washington and Frances McDormand star as grown-up versions of the Macbeths, with dangerous ambitions and onerous responsibilities.

Two new movies address the impossible, ordinary, maddening task of keeping both yourself and a child alive.

Paolo Sorrentino’s “The Hand of God” is a coming-of-age movie set during a legendary chapter in soccer history.

Paul Thomas Anderson’s latest movie makes the 1970s dreamy but lacks the edge of his earlier films.

In his posthumously-published biography of the artist, Alex Danchev unearths the gleeful child behind the highbrow works.

“The Promise” is a portrait of a society where words lose their meaning.

In Pablo Larraín’s dreamlike movie, Diana is not the people’s princess but a woman in search of herself.

“The Sentence” inverts the “Indian burial ground” horror trope to make a new kind of story, in which white ghosts haunt the living.

“Once Upon a Time … at Bennington College” digs into the college years of novelists Donna Tartt, Jonathan Lethem, and Bret Easton Ellis. Do its revelations have any literary value?

As Logan and Kendall go to war, it’s impossible to tell good intentions from cynicism and hypocrisy.

The films have always presented a more slick, evasive Bond than the often mundane spy in Ian Fleming’s novels.

In the new film prequel to “The Sopranos,” fatally flawed fathers and deluded sons buckle under an enormous pressure to be men.

Playing Tadzio in Luchino Visconti’s film made Björn Andrésen a star at 15 years old. He spent the next 50 years struggling with the fallout.

The controversy over her most famous work, “The Dinner Party,” has obscured her broader legacy as an artist.

Eyal Press’s new book studies essential workers who face a unique occupational hazard: moral injury.

Bob Ross was the soft-spoken “Happy Painter,” beloved by audiences. When he died, conflict erupted.

Nia DaCosta’s reimagining of the cult classic explores the dangers of making art about pain.

A new book traces the language of brainwashing to a series of Cold War–era scares.