Dick’s satire is smart and the events, along with the fashion, remain a perfectly exaggerated depiction of the ‘70s.
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It’s as though Richard Kelly looked at the silliest parts of America circa 2002 to 2006 and cranked them all the way up, and society just saw fit to follow suit.
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Under-discussed and under-loved in the conversations around classic ‘80s action, Cobra is meaner, and more disturbing than anything Sylvester Stallone’s contemporaries were doing at the time.
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This is first and foremost Silvia and Estefania’s story (or at least a moment in their story). Filmed during the summer of 2019, we watch Silvia and Estefania pass the days as young people usually do: With wanderings, musings on their future and past, and lots and lots of stupid jokes and inside references with themselves and friends. Hummingbirds is a living piece. There’s no grand message or point except that of what comes out of seeing people’s lives play out on screen.
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A cap to Schrader’s latest trilogy sees the writer-director examining arguably his most repugnant leading man with surprising grace.
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A love of film and a compelling lead character makes The Hard Goodnight a film to watch.
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Writer Matthew Seidel got the chance to see the SXSW premiere of Blackberry in advance of its May 12th release date. Did the movie turn out better than the phone? Keep reading.
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Ari Aster’s “nightmare comedy” is giving critics sleepless nights, but is it a good movie? Does it even matter if it is?
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If one could turn a Boards of Canada album into a movie, it would look something like Enys Men.
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For viewers unfamiliar, Tsui Hark’s Green Snake is part of a proud tradition of Xianxia films. The big difference is that this one stars international superstar Maggie Cheung.
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Yeah, we’re thinking John Wick is back.
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Frankenhooker is not a good movie, but that doesn’t mean it’s not a great movie.
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This is a tale as old as time.
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Blood and Honey can’t live up to its own hype.
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Bite-sized movie reviews from the heart of Sundance
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Films from the American Atomic Age show us our cultural fears—and relationships to the mighty power of the atomic bomb.
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Brandon Cronenberg offers up body horror, class commentary, and Mia Goth to filmgoers… but does it all cohere in the end?
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Kyle MacLachlan and gnarly ‘80s-era practical effects. Need we say more?
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Divorce, virtue-signaling fears, and pandemic Zoom orgies. The team behind This Is Not A Cult arrives on the big screen.
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The world didn’t deserve Drop Dead Gorgeous on its release, but we need the movie now more than ever.
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