A Virginia court has lifted an injunction against a Fairfax woman who had been ordered to remove parts of negative Yelp reviews of a D.C. contractor pending a trial over her claims.

Tom and Robert Sietsema are distant cousins working as food critics for two different publications in two different cities—but they agree on the places in D.C. you should eat.

The Clean are personable veterans who still sell their own merch and engage the audience in idle conversation, but their songs are weighty, if not outright dark.

Marion Barry is many things, and now he can add movie critic to that list. This weekend he gave his seal of approval to Snow White and the Huntsman.

You might think, before watching Bullhead, the Oscar-nominated debut from Belgian writer/director Michaël R. Roskam, that a film about black market trade in illegal bovine growth hormones in the rural cattle-raising borderlands between the French and Dutch sections of Belgium might not not the most interesting prospect. You’ll probably leave thinking much the same thing, but there are multiple stories — probably too many — at work in this film, with that one just being the clumsiest.

There’s an textual epilogue at the end of Agnieszka Holland’s new Oscar-nominated World War II drama that confirms something that I suspected throughout the film: the director was angry. Like most movies that involve the Holocaust, this is a story of struggle against adversity and the triumph of the human spirit in the face of unspeakable actions. But most of those films look at the atrocities with a sad resignation — what’s done is done, so better to mourn than to rage — that balances whatever triumphal notes there are in the story.

“The people are the city!” That line appears just once in Shakespeare’s play detailing the rise and fall of fifth-century B.C. Roman war hero and politician Caius Martius Coriolanus (Ralph Fiennes), just as public opinion is turning ugly towards him and his anti-populist attitudes. Ralph Fiennes makes his debut as a director in an adaptation of that play, and in his and screenwriter John Logan’s version, set in modern times, that line becomes a rallying cry for the people who oppose Coriolanus in his bid to follow military success with a run at becoming a Roman consul.

Everyone has made difficult choices and faced the consequences. But those choices and their consequences can be different in a place like Iran, a theme that carries Asghar Farhadi’s insightful new movie, A Separation.

If you head over to the IMDb, look up Roger Corman, and start scrolling through his filmography, make sure your scrolling finger is limbered up. The list of producing credits alone stretches, as of this writing, to 398. And Corman, well into his 80s now, is still consistently averaging two to three movies a year. Many of those aren’t just putting-up-the-money executive producer credits, either. Corman, as Alex Stapleton’s documentary Corman’s World demonstrates in its opening minutes, is a hands-on producer, offering directorial input onset (keep scrolling down the page and you’ll find over 50 directorial credits from 1955-1990), and sitting with the editor and guiding the cutting process.

Many of the scenes in Pariah, Dee Rees’ debut narrative feature, are shot in shallow focus closeups, actors’ faces filling much of the screen as the background is lost in a soft blur. It’s an unforgiving shot for an actor, every subtlety — and, potentially, deficiency — of their performance magnified by the proximity of the viewer. But what it demonstrates is an overriding confidence in the abilities of her performers on the part of Rees. That confidence isn’t misplaced: The intensity of these performances, and their gorgeous rendering on film by cinematographer Bradford Young, carry a film that could easily have sunk into Sundance-indie inspirational cliché.