Keith Phipps

While the film industry may be earning praise today for how it depicts transgender issues, there have been some awkward missteps.

Children’s movies are better than ever, but the live-action film grappling with bonds between human and animals has disappeared.

<p><i>I know you are, but what am I</i>? Is Pee-wee a timeless entertainer or a throwback for Gen Xers who want to see a childhood hero grown up and ironically knocking back shots?</p>

Is Led Zeppelin guilty of plagiarizing its most iconic song? ‘Stairway to Heaven’ would hardly be the first time the band faced legal action for borrowing too liberally.

<p><i>PlectrumElectrum</i> and <i>Art Official Age</i> show Prince’s willingness to shape his material into coherent and compelling albums that’s been absent for a while. He's not coasting anymore.</p>

Filled with songs about desire, absence, and restlessness, Adams’ latest is far removed from an ode to tranquility. Whatever peace he has found seldom finds its way into his music.

Insidious is by the Saw team, but it’s the bloodless opposite of torture porn. Keith Phipps on why Saw’s ultraviolence spoke to us then, and why Insidious’ creepiness speaks to us now.

It's essentially a remake of the original, but the sequel to the surprise blockbuster Paranormal Activity manages to be scary throughout.

Despite the Nightmare on Elm Street reboot’s huge $32 million haul this weekend, Keith Phipps asks Hollywood to stop dragging yesterday’s monsters into a world they’re ill-equipped to scare.