“Juror #2” confronts us with an uncomfortable reality: following your conscience often comes at great personal cost.

In 1930, Hollywood teamed up with the Catholic Church. The result was the Production Code, a document that dictated what movies could and could not depict.

Robert Eggers’s ‘Nosferatu’ walks the line between desire and dread, the thrill and terror of surrender.

That idea of “keeping Christmas” is an invitation and a challenge to consider what Christmas really means to us.

We have all heard that “blessed are those who have not seen and have believed.” “Miracle on 34th Street” suggests that we must believe in order to see.

“Meet Me in St. Louis” asks: How do you have hope when the future holds so many unknowns?

Dorothy and her friends’ journey is one of discovery and gratitude, an external quest that reveals internal riches.

“Wicked” arrives on a whirlwind of eager (and anxious) anticipation among fans of the musical.

Sometimes you have to leave home to find home. That’s the paradox of the immigrant experience, portrayed beautifully in “Brooklyn.”

Dorothy Day called for “a revolution of the heart,” a shift away from self-interest to solidarity. That isn’t accomplished by a single election.