Corey

The Last Panthers opens with an intense jewel heist, as Milan (Goran Bogdan), one of the famous Panther jewel thieves, tries for one last score with a team he doesn’t quite trust. But the miniseries swiftly disabuses viewers of the notion this will be a caper: One of Milan’s team shoots a kid in his panicked escape, and the group becomes an international liability when lead detective Khalil (Tahar Rahim) starts tracking the abandoned handgun. The usual network of buyers is looking toward a future where international business shorthand, not jewelry, is priceless. And insurance investigator Naomi (Samantha Morton), desperate to track down the diamonds, starts to reopen some very old wounds.

The shift from decisive action to the quagmire of semi-legal business empires founded on crime soon scrapes any veneer of glamour right off those first few minutes. But that’s by design: This series lands halfway ...

Today in “I can’t believe this wasn’t already a thing,” The Hollywood Reporter has a story about a “quiet” new movement among movie-theater owners: Banning children under the age of six from attending R-rated movies after 6 PM. Like several other exhibition trends (the theater is famous for its full menu and strict “no cell phones” policy), this one was pioneered by the Texas-based Alamo Drafthouse chain, whose founder, Tim League, tells THR that he picked the age of six by “determin[ing] at what age a kid can behave themselves and not blurt out the first thing in their heads.”

Now several other theater chains, including AMC and Cinemark, are quietly adopting the policy as well. Regal Entertainment, America’s largest theater chain, is going one step further and banning children under the age of six from attending R-rated films at all. Technically, this is in violation ...

Comedian Kyle Kinane, who’s been seen lately in recurring roles on Netflix’s Love and truTV’s Those Who Can’t, can soon be seen in his permanent role as himself in real life as he brings his stand-up act to fourteen cities across North America—including his hometown of Chicago, where he first honed his onstage comedy skills. The 39-year-old self-deprecating comedian has made a name for himself in recent years as one of the strongest voices in stand-up. The AV Club’s Vikram Murthi gave his 2015 special I Liked His Old Stuff Better an A rating, taking particular note of his conversational joke style and “heartwarming optimism in the face of futile despair.”

Kyle Kinane tour dates

May 7—Benefit show—Omaha, NE

May 8—The Zoo Bar—Lincoln, NE

May 9—The Record Bar—Kansas City, MO

May 10—Rose Music Hall—Columbia, MO

May ...

Having recently displayed palpable chemistry with a romantic interest even while in less than favorable conditions, Sam Rockwell has gone ahead and signed on for another comedy about two people who fall in love under “strange circumstances.” According to Deadline, the erstwhile Mr. Right will topline the black comedy Blue Iguana, which was written by Cleanskin director Hadi Hajaig and will begin filming in London this July.

The film will follow a pair of “outcasts”—one of whom Rockwell will play—whose romance unfolds as an “offbeat story about lying, stealing, and shooting.” It’s the kind of stuff you’d expect to see in a movie about a paid assassin whose change of heart prompts the career change that endangers his life and that of his lover—which you’ve seen recently if you went to see Mr. Right. But Rockwell’s unflagging charm (which was bolstered by co-star ...

Green Room is a rare gift from the genre gods: a nasty, punk-as-fuck midnight movie made by a genuine artist, a filmmaker with a great eye and a true understanding of the people and places he’s splattering in viscera. His name is Jeremy Saulnier, and his last film, the similarly color-coded Blue Ruin, was an eccentric riff on the revenge thriller, featuring a soft-spoken, sad-eyed vagrant in the Charles Bronson role. Green Room, about a traveling hardcore band caught in a life-and-death standoff with white supremacists, is even better, even bloodier, even more grimly amusing than its predecessor. In clichéd rock-journalism parlance, it’s a bastard lovechild, what you might get if you could somehow mate one of Kelly Reichardt’s portraits of life on the Oregon fringe with one of John Carpenter’s castle-siege action vehicles.

The title is the setting: the dingy backstage of a hole-in-the-wall music ...

One-Season Wonders, Weirdos, And Wannabes considers the merits of short-lived TV shows. In this installment: Terriers, which ran for 13 episodes on FX in 2010.

FX needed a comeback in 2010. The cable outlet had found hits in The Shield, Nip/Tuck, and Rescue Me in 2002, but, with the exception of 2005’s It’s Always Sunny In Philadelphia and 2007’s Damages, the remainder of the decade had produced a series of duds. Much of it was bad luck: 2005’s Thief received critical praise, but only lasted a season. Starved premiered alongside Sunny, but didn’t survive its initial seven-episode run. The year 2006 brought the Ice Cube-produced and racially problematic reality show Black. White., which relied on blackface and white ignorance, and was received with a collective shudder. Damages, Dirt, and The Riches arrived in 2007, but despite strong initial showings, the latter two series had ...

Despite his Tim Riggins being one of the best parts of Friday Night Lights, Taylor Kitsch has struggled to carry any of that goodwill into much of a movie career. Through no fault of his own, John Carter was a legendary flop, X-Men Origins: Wolverine was reviled by both critics and fans, and Battleship was a movie based on the Battleship game. Nobody was going to like it no matter what.

Well, it looks like Taylor Kitsch is done starring in everyone else’s terrible movies. If he’s going to be a movie star, he’s just going to make it happen himself, Tim Riggins-style. According to Deadline, Kitsch is going to direct and star in Pieces, a drama film that he also wrote. That means there’s no Jason Street or Matt Saracen for him to rely on. He’s gotta throw this metaphorical football, catch the metaphorical ...

How does one improve upon perfection? The answer, as always, is Benny Hill. On a recent live episode of How Did This Get Made? podcast, wherein the panel was discussing the 1988 Jean-Claude Van Damme film Bloodsport, co-host Jason Mantzoukas threw down the gauntlet. There’s a chase sequence in the film where Van Damme is escaping government stooges sent to take him home (including one young Forest Whitaker). Van Damme’s business (of revenge) isn’t settled yet, so he demures and then takes off on a chase through the streets of Hong Kong, all set to Michael Bishop’s “Steal The Night.” The scene as it appears in the film is below:

A little interminable and only subtly ridiculous, right? Well Mantzoukas, correctly, pointed out that this scene would be much improved if it was given the old Benny Hill treatment—that is to say sped up with ...

James Franco has been working on The Disaster Artist, his adaptation of Greg Sestero and Tom Bissell’s delightfully weird story of the making of The Room, for a while now, with filming finally finishing not that long ago. Besides the requisite scenes of “Oh hi Mark” and Lisa tearing people apart, though, the movie’s camera apparently captured a set-up that might be even weirder than the stuff in the movie’s source material: a “contractually obligated” cameo scene between Franco, in character as abysmal auteur Tommy Wiseau, and the actual man himself.

Patton Oswalt’s Star Wars obsession has been exhaustively documented, mostly by Oswalt himself in previous stand-up specials. So much so, he’s finally coming clean on the dangerous potency of his mastery of Star Wars minutiae: It could literally kill terminal patients in a hospital. At least, that’s the idea proposed by Oswalt in the trailer for his new comedy special, Talking For Clapping, debuting on Netflix April 22.

Judging by the three small excerpts provided here, the comedian once again takes aim at some of his more cherished targets: Cooler-than-thou assholes, anti-gay idiocy, and himself. But this time, he’s wearing a natty blue blazer while he does it, meaning there’s a much better chance that it you flipped past the stand-up special quickly enough, you might mistake him for Katt Williams. Probably not, but still, he’s looking pretty damn stylish.