Steven Sebring’s film “Patti Smith: Dream of Life” bears almost no resemblance to any other documentary about the punk-rock heroes of Ms. Smith’s turbulent era.
The filmmaking duo the Polish brothers established Prohibition Pictures in the spring to address their concerns with production costs and artistic independence.
Ms. Teer, who founded the National Black Theater, gave up a promising career in commercial entertainment to concentrate on developing African-American culture in Harlem.
Hugh Jackman, who was on hand to promote “X-Men Origins: Wolverine,” found exactly the right words for the crowd at the 39th annual Comic-Con convention.
“That Was Then ... This Is Now” is an ambitious if disappointing effort to extend the activist spirit of the Vietnam War protest days into the Iraq war era.
A recently discovered drawing of the Archangel Gabriel by the Netherlandish artist Lucas van Leyden has been acquired by the Metropolitan Museum of Art.
“The Order of Myths” is a wise and soberly affecting documentary about the separate but unequal Mardi Gras festivities that take place each year in Mobile, Ala.
This production is a reminder how invigorating an Off Broadway play can be with just two appealing performers, compelling music and an intelligent script.
A two-hour episode of “So You Think You Can Dance” averaged 8.4 million viewers on Wednesday from 8 to 10 p.m., helping make Fox No. 1 in the ratings for the night.
In his first statement since accusations were made that he assaulted his mother and sister, Christian Bale, above, asked for privacy on Thursday, The Associated Press reported.
Talk Radio Network, which syndicates Michael Savage’s program to more than 350 affiliates, said that it had decided to reject critics’ calls to fire or suspend him.
Baggy, draggy, oddly timed and strangely off the mark, “The X-Files: I Want to Believe” is the generally bad-news follow-up to the show’s first feature-film incarnation.
“Mad Men” distills the moment in the American century when the buoyant certainty that came with winning a war and running the world was beginning to crack.
In overlighted hallways and shady side rooms, the director, Leesong Hee-il, presents a remarkably frank portrait of low-rent South Korean homosexuality.