With this week's arrival of the visually stunning Gravity L.A. Times' Nicole Sperling shows us the dynamics of the intimate and professional relationship between Alfonso Cuarón and his son Jonás. 

It's been five years since Kimberly Peirce's last film, but now she's back. The New York Times' Magazine's Mary Kaye Schilling talks to the director about her highly anticipated Carrie remake, her directorial career choices and gender politics

Lost creator Damon Lindelof guest writes for The Hollywood Reporter about how Breaking Bad's finale helped him get closure about his own show. 

Breaking Bad's finale cemented the show's place in TV history. Dan Snierson at Entertainment Weekly goes on set and takes us through the emotionally gripping filming of the show's last scene. 

Director Uwe Boll is known for his horror films, but it's his political films that matter. In a country where instances of mass violence occur more frequently, Uwe Boll is one of the few depicting and examining these instances. Willie Osterweil at The New Inquiry commends the director for addressing these topics.

Rom-com Don Jon gets dubbed the "best romantic comedy in years" by Grantland's Molly Lambert, who praises the film for modernizing the rom-com formula and sparking conversation about pornography and sexual relationships

Blue Is the Warmest Color and Concussion have gotten a lot of attention for their subject matter. Eric Hynes for The New York Times shows why these films are necessary and what they're actually saying about women and sexuality