For reasons that extend beyond the film viewed in a vacuum, Robot Monster exudes a charm that is impossible to ignore.
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Godzilla vs. Biollante takes full advantage of the innovations of the time and rewards the viewer with the craft on display.
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Sure, it’s easy to tell where Roofman is going from the get-go – these “based on true events” crime stories tend to follow all the same beats. That’s okay though, when you tell a tight enough story with a big enough heart.
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Jeremy Saulnier’s 2015 horror film Green Room has been rattling around in my brain recently.
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Misunderstood upon release, now revered for its complexity; that its messiness is what gives it such a voice, and the obsession with spectacle and unpredictability in modern times, Southland Tales follows suit, displaying the grotesque, beautiful fascination with disaster.
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In a world where cinephiles ask “What if you made one character a Muppet?” Dan Akroyd dares to ask, “What if they were all Muppets, especially me?”
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In 2025’s record-breaking animated epic Ne Zha II, the direct sequel to Ne Zha (2019), writer/director Yu Yang 杨宇 (credited as Jiaozi 饺子) presents loud, bright, unbelievable artistic direction with a crew three times that of its predecessor, giving intricate visual details to every element on the screen.
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From social media stalking to uninvited home visits, Lurker explores the consequences a budding singer faces when letting, unbeknownst to him, a stan into his inner circle.
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As a star vehicle, The Smashing Machine contains an inherent contradiction: we must see Dwayne Johnson transform, but must also always be aware that we’re watching Dwayne Johnson.
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The Lost Bus is everything you can want from a movie like this; great acting, heroes to root for, a story that never loses speed (even when the bus breaks down), and a broader message about how man-made climate change is capable of destroying the communities we love.
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Helmed by Saoirse Ronan as the teacher who takes matters into her own hands, Bad Apples takes a satirical bite out of education.
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Though buoyed by strong performances and a sustained sense of tension, Aneil Karia’s hollowed-out adaptation struggles under the weight of its legacy.
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Joachim Trier’s latest is a success in creating an intergenerational story of art and personal history.
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By positioning Videoheaven as both a cinematic essay and an archive, Alex Ross Perry ensures that the memory of video stores won’t just fade into nostalgia, but remain available for future generations to discover.
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Him follows Cameron Cade (Tyriq Withers), a generational talent in college football who is so unbelievably hyped up by the entire sports-watching community that even before the NFL combine, he is expected to easily become one of the greatest players in the history of the sport.
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Nobody 2, the sequel to 2021’s Bob Odenkirk-plays-a-sadsack-who-gets-his-groove-back-by-resurrecting-his-abilities-as-a-master-assassin picture Nobody is an amiable, brisk goof with a game cast and some creative action.
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I’ll rip the band aid off early; The Conjuring: Last Rites is a bad, flaccid film that clocks in at an unholy 137 minutes. While the poor quality is baked into the final product (unenthusiastic direction, boring script), the badness is even worse when compared to what came previously.
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To put it cattily, A Big Bold Beautiful Journey feels like Everything Everywhere All at Once if it were made by capital T capital K Theater Kids as opposed to capital I capital K Internet Kids.
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Over a mild weekend in the middle of August, the Austin Film Society hosted a four-day retrospective on the globally renowned art cinema director Tsai Ming-liang.
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Those with pretensions to auteur status must announce themselves, they must Hold Court. Schlesinger doesn't need to. He needn't bother himself with vulgar displays of power.
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