rated R: Sarandon has a great scene as the radical Solarz, in which she conveys a lifetime of both passion and doubt to whippersnapper reporter LaBeouf. Redford, meanwhile, seems very old. Sometimes that is used to good effect, and his physical frailty increases the tension as he dodges his pursuers. But, sometimes, we’re just afraid he’s going to trip on something.

Did “The Office” overstay its welcome or recover its comic spark just in time?

There's a vocal set of fans (and former fans) of NBC’s “The Office” who feel that the show should have wrapped things up at the close of the seventh season with the departure of Dunder Mifflin regional manager Michael Scott (Steve Carell). After slogging through the mostly aimless, James Spader-ized eighth season, I was inclined to agree. However, “The Office” in its ninth, and final, season, has rallied in defense of its existence in a post-Michael Scott world.

Vestron Pictures, 1988: Based on "Dracula" author Bram Stoker’s final novel before his death in 1911, “The Lair of the White Worm” may not deliver the best high camp value, but it’s close.

This is old-school science fiction in a 21st-century wrapper. Stylistically, it’s a twin to last year’s “Prometheus,” with the digital animation sharing a certain shiny gravity, but it does not suffer from the complete nonsense that so cruelly downed that Ridley Scott vessel.

Duncan Watt and the art of music in 'BioShock Infinite'

Duncan Watt is excited. He’s spent most of the previous night playing BioShock Infinite, the newest release in the BioShock series. As a gamer, he’s waited a long time for this. And as a composer who was asked to contribute unique compositions to the game’s orchestral soundtrack, seeing all of it come together is priceless.

The “Mad Men” season premiere propels its characters into the dark end of the ’60s

“Mad Men,” for all the awards and critical praise it receives, also seems to have the same complaints lobbed at it season after season: it’s too slow, it’s too dark, it’s never met a metaphor it didn’t like. All true. Which makes me so incredibly happy to finally have it back.

Rated R: It seemed a strange gamble, for an established filmmaker like Raimi to entrust his cult hit legacy to an unproven first-time director like Fede Alvarez. With a whole new cast, and a marginally bigger budget, what could Alvarez possibly hope to accomplish with this that the franchise hadn’t already? Now that the results are in, the question maybe shouldn’t be “Why is someone remaking this movie?” but more along the lines of, “Why isn’t everyone remaking this movie?”

Koch-Lorber Films, 1975: Wertmuller, the short, fast-talking, chain-smoking Italian with the German name and clunky white glasses was an easy target for parody in the 1970s. (“Saturday Night Live” had a field-day with her.) She also was and is one of the greatest filmmakers of all time.

Given just four months to reach its fundraising goal, the board of trustees for Exeter Theater Company has opted not to exercise their option to purchase the IOKA Theater for $600,000 from its current owner, Alan Lewis, by the deadline of March 31.

Rated PG-13: Making toys based on movies is a time-honored tradition, but making movies based on toys is a much rarer and trickier proposition. It’s such an unnatural reversal that it sometimes feels as wrong as having your food come up your esophagus instead of going down.

New Hampshire Media Makers opens doors for video and web producers on the Seacoast

Leah Tompkins found herself jumping off a set of stairs the first time she went to a New Hampshire Media Makers meet-up. Someone wanted to try to take photos of people in the air, so “we all went outside and took turns leaping,” she says. “It was a nice welcome to the meet-up.” There were only 8-10 people at the time, making the photo project feasible. These days, sometimes up to 30 or 40 people attend. Crackskull’s eclectic artwork, such as the giant plastic fish mounted above the coffee counter wearing a spiky elaborate metal necklace, complements the array of personalities making friends: a martial artist chatted with a contributor for NHPR and a film orchestrator.

Svensk Filmindustri, 1959: An old Irish proverb states, “A maiden’s chastity is a sty in the Devil’s eye.” In Bergma's fantasy, based on a Danish radio comedy, the Devil is thus impaired by a young, beautiful vicar’s daughter. To cure him of the sty, he sends notorious seducer Don Juan up from Hell to deflower the 20-year-old girl and rob her of her belief in love.

New World Pictures, 1988: At the outset, “Heathers” seems like just another 1980s teen comedy with the familiar theme of social outsiders taking on stereotypical mean girls. But this movie is much darker than it at first appears, as evidenced when the lead Heather chugs down a Drano cocktail and promptly croaks, crashing through a glass coffee table on her way to eternal quietude.

Landmark Entertainment Group, 1987: In the late 1970s and 1980s, media companies were constantly searching for “toyetic” properties—that is, movies or TV shows that would lend themselves well to line after line of expensive merchandise for children. The search for toyetic franchises led to the development of the cartoons that now power the perpetual motion geek nostalgia machine: “The Transformers,” “G.I. Joe,” “Masters of the Universe,” and even “My Little Pony.” From the garden of toyetic properties sprang some strange fruit, though, most notably “Captain Power.”

In my lifetime, television has abandoned its post in the family living room for a whole new—and wholly different—experience.

“We’re getting rid of cable.” I can’t tell you how many times that horrific statement has been unleashed in my living room, often times within earshot of the television. But despite the hurt feelings of an inanimate cable box, it’s true that there’s never been a better time to ditch cable TV.

Elias Querejeta Productions, 1973: “Beehive” starts warm and charming, with Luis de Pablo’s pastoral score and title pictures actually drawn by the two juvenile actresses. Spain’s vast Castilian plateau looks lovely and inviting, and Ana and Isabel are studies in childhood beauty—one dark, one light.

Rated PG: James Franco is Oscar Diggs, a traveling carnival magician, Edison-style tinkerer, con man and flirt. He’s got some goodness in him, but he doesn’t let it distract him because he wants to be a great man, not a good man, and he believes those things are mutually exclusive.

Rated PG-13: Unfortunately, these magic beans were obviously a Monsanto strain, a hybrid carefully bred to thrive in a modern environment of clichés without offending anyone, but not meant to actually be nutritious for our imaginations, or even be able to take root beyond the immediate viewing. Leaving us hungry, we just have to keep consuming movies in hopes of finding one that actually sustains us.

The producers of Troma-Fest celebrate a legendary B-movie studio and vow to keep Portsmouth weird.

There are good movies, there are bad movies, and then there are Troma movies. For nearly 30 years, Troma Entertainment and its founder, Lloyd Kaufmann, have been making flicks so bad, so gross, and so weird, that they blur all the usual judgments we make about movies.

Nikkatsu Studios, 1964: This film evokes a kind of twisted “Umbrellas of Cherbourg,” made by Jacques Demy the same year in France. Director Suzuki made some great films in black and white (“Youth of the Beast,” 1963), but his evocation of scenes through bright, primary and pastel colors—costumes, props and backdrops—is amazing.

Spoiler goggles fastened? Good. Let’s dive into the Downton deep end.

Even if you don’t watch “Downton Abbey,” you know someone who does. With the third season having just wrapped up stateside this week, you’ve probably heard a lot of talk of “Shrimpy,” “Dr. Clarkson,” and “Poor Edith.” You may have heard a variation of “I hate you, ‘Downton Abbey’ and we are so breaking up.” I’m not sure whether I’m breaking up with “Downton,” but even Malcolm Gladwell would admit that we’re likely at the tipping point of goodwill for Masterpiece’s worldwide hit.

As if it isn’t hard enough to keep track of your favorite cable series, which might or might not be on a channel you subscribe to, and your favorite offerings from the BBC, which might or might not make it to BBC America in a timely manner, now there’s a top-tier television series that isn’t on television at all. “House of Cards” is only available streaming on Netflix, and it’s worth chasing down.