If Night of the Living Dead was Romero’s Beatles-on-Ed-Sullivan moment, The Crazies was his concept album no one understood until three decades later, probably while
There are few universal human experiences more demeaning than a job interview. First dates, maybe. An MRI with bad jazz playing in your headphones, sure.
Which brings us to Jurassic World Rebirth, the seventh installment in a franchise that should have been gracefully fossilized long ago. But Hollywood, like the
So of course, Hollywood did what Hollywood does best: upgraded the software, doubled the runtime, and deleted the subtlety. Enter M3GAN 2.0, the cinematic equivalent
There’s a peculiar joy in watching grown adults; who you’d trust to explain the. many facets of Goddard and Spielberg; gleefully debate the difference between
On Episode #123 of Fear and Loathing in Cinema, our brave quartet; Bryan, Dan, Chelsea, and Preston; take a break from dodging dinosaurs and emotionally
Bresson was a man allergic to frills, whether it be cinematic, emotional, decorative, or otherwise. So when, in 1959, he wrote his first original screenplay
Almodóvar, of course, has never been in the business of quaint. His films arrive lacquered in bright colors and moral ambiguity, populated by characters who
In the end, Sundays and Cybele remains a masterwork of emotional subtlety. It’s a tragic, beautiful tale of innocence, loneliness, and the ways broken people
The stage is nearly set, the heat is already oppressive, and somewhere in the distance, a folding chair is weeping in anticipation. Yes, friends, professional
X-Men: Apocalypse, directed with bombastic sincerity by Bryan Singer (back for his fourth round of mutant musical chairs), attempts to answer this question with explosions,