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Aaron Schimberg’s A Different Man (2024) just hit theaters and might be as medicinal for you as it was for Schimberg’s protagonist. It is as thought provoking as it is fun and pulls off the difficult task of being original, being a meaningful addition to a conversation and being clear.
Read MoreFresh Kill is a neon-green love letter to what was then the new world of hacktivism, a playful form of civil disobedience attempting to disrupt and infiltrate the technological systems that control modern life by replacing algorithms with abstraction and logic with poetry.
Read More25 years later, Spice World is still the highest-grossing film of all time by a musical group. This is why the parody film still holds sway over its fans a quarter-century after release.
Read MoreFrederick Wiseman's documentaries The Store and Law and Order highlight different stages of sociopolitical change, through plainly depicting his subjects with as little interpretive framework as possible.
Read MoreA fanatical community of misogynistic Dutch people, or powerful, skittery, and kind of sexy forest demons? Oh, what a decision for down-on-her luck villager Frieda (Anneke Sluiters, Flikken Rotterdam) to make in Didier Konings’ Witte Wieven.
Read MoreFrom the outset, Get Away perpetually winks at the audience. The comedy comes from a family’s obliviousness to numerous foreboding signifiers of doom, though Frost’s script goes back to that well so much it starts to run dry by the second act.
Read MoreWith The Substance, Coralie Fargeat goes beyond surface-level depictions of double standards and female rageto not only show flawed, complex women, but also the social conditions shaping their everyday lives.
Read MoreTed Post's The Baby (1973) tells the story of a woman stricken with grief, looking to help an underdeveloped adult man trapped within the warped remains of a nuclear family.
Read MoreBased on the short story by John Cheever (1964), The Swimmer (1968) is a surrealist drama that has achieved cult status since its release.
Read MoreThe 2024 Crow is substantially more lore-heavy than Alex Proyas’ 1994 take on the comic, but it’s all so much nothing.
Read MoreThe Front Room covers what it says on the tin: Old people are gross, weird, and maybe a little evil.
Read MoreOutside of showcasing the fun of mushroom trips, My Old Ass announces the arrival of an exciting young star. In a role that brings to mind Emma Stone’s earlier role in the excellent Easy A, Maisy Stella brings the perfect blend of heart and humor to director and writer Megan Park’s (The Fallout) latest film.
Read MoreSleuth is the diabolically entertaining tale of two men engaged in an increasingly high stakes competition of wits, will, and imagination.
Read MoreFor a movie about supernatural revenge against a cadre of scumbags, The Crow is remarkably sweet-hearted. Combine that sweetness with Lee’s work, solid action, and an impeccable feel, look, and sound, and there’s a reason that Proyas and crew’s picture remains well-loved. Would that it was just one of many pictures in Lee’s filmography rather than a memorial.
Read MoreThe American version of this type of hero usually involves a man who derives his virtue from rugged, individualist morality, while Riki derives his virtue from popular, collectivist traditionalism.
Read MoreZoë Kravitz’s directorial debut Blink Twice aims to mirror the success of recent social satire thrillers, but is neither smart nor subtle enough to be anything but a total misfire.
Read MoreAlien: Romulus is a thin, photocopy of the original, made purely for the sake of Franchise Potential.
Read MoreHow should movies reflect our morals and values as a society? Or, more pointedly, what function does entertainment serve? This question seems to lie at the heart of the controversy surrounding Colleen Hoover’s enormously popular novel It Ends With Us and its new film adaptation.
Read MoreHit Man is Richard Linklater’s latest movie about the double life of a college professor who wants to live the philosophy he teaches. The story follows Gary (Glen Powell), who moonlights with an undercover law enforcement team that extracts confessions from homicide solicitors. He doesn’t pose as a hitman, though. He’s one of the techs in the van that does whatever a tech-in-a-van does.
Read MoreTrap echoes much of M. Night Shyamalan’s filmography—his interest in fatherhood especially—but eschews his traditional “big twist” in favor of a series of escalating, but surprisingly grounded, reveals.
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