Film
Rather than attempting to summarize an impossible life, writer-director Matt Johnson (Nirvanna: The Band The show The Movie) wisely narrows the lens. Tony spends roughly
August 3, 2026
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Rather than attempting to summarize an impossible life, writer-director Matt Johnson (Nirvanna: The Band The show The Movie) wisely narrows the lens. Tony spends roughly
Perhaps that’s the most telling image in the entire film. The Marvel Cinematic Universe doesn’t need another crossover. It doesn’t need another nostalgic cameo or
Whatever the reason, What’s the Story, Wishbone? functions as both a celebration and a time machine. It reminds us of afternoons spent sprawled on living-room
Those ideas may sound quaint in 2026, which is precisely why they feel revolutionary. We live in an age addicted to cynicism. Catastrophe has become
When the credits rolled, I felt the same exhilaration I used to feel leaving action movies as a teenager. I was slightly exhausted, mildly deaf,
Watching Is God Is feels like being promised a handmade meal by a celebrated chef and instead receiving an expired Lunchable thrown directly at your
By the end, Lee Cronin’s The Mummy doesn’t just revive an old monster, it drags the entire Universal Monsters catalogue into a dark alley, kicks
By the end, you may not have answers. You will, however, have a lingering sense that art, like friendship and like love, is a living
The Drama is, in the end, a kind of Trojan horse. It’s a love story that smuggles in a far more disquieting question about who
In the end, Project Hail Mary doesn’t quite stick the landing, though it tries valiantly. Several times. What it delivers instead is something gentler. It’s
28 Years Later: Bone Temple is a rare thing. It’s a horror sequel that expands its universe, deepens its ideas, and still finds time to
Mike P. Nelson has done the seemingly impossible. He’s turned Silent Night, Deadly Night into a holiday movie you might actually look forward to watching.
Another astonishing element is what makes Marty Supreme not just a Safdie panic-odyssey but an emotionally resonant one. It’s how earnestly it adopts the bones
Which brings us to No Other Choice, Park Chan-wook’s newest, slyest, and perhaps most strangely tender film. It’s an adaptation of Donald Westlake’s The Ax
Watching Sirāt feels like being pulled into two films at once. On one level, it’s a merciless survival thriller, echoing the kinetic intensity of Mad
They don’t make films like Dolly anymore, or rather, they don’t usually let them out of the editing bay, fearing no one will sit through
In the end, Coyotes is a silly, shapeless howl of a movie that needed either Liam Neeson with a hunting knife or a wisecracking Road
Every so often, a documentary arrives that is less a film than a warm hug from an unexpected direction. A hug that smells faintly of
Primate is not subtle, and it doesn’t pretend to be. It’s a B-movie in spirit and an A-movie in execution, gleefully splattering the screen with
Which brings us to the inevitable fan debate, the ending. For the book faithful, there’s a raw, ambiguous power to the final moments that some
And that third act? Good luck. It’s audacious. It’s brutal. It’s batshit. It’s the kind of finale that reminds you you’re alive, because your heart
The result? The funniest film since “Netflix and chill” was still edgy. Perhaps it’s time to update the phrase: The Naked Gun and fuck. Because
If Marvel wants to course-correct, they could do worse than watch James Gunn’s Superman on loop for a few days. Or maybe, just maybe, stop
Before Ari Aster made us afraid of attics, flower crowns, or what a mother might do with a piano wire, he was dreaming of spurs,
The film’s emotional core, though, is a quiet scene in Kansas. Just a conversation between a son and his parents (Pruitt Taylor Vince and Neva
If you were alive in the late ’70s or early ’80s; or were simply the kind of child raised on VHS tapes and questionable parental
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
Some movies sneak up on you. Others charge in with a cape, a torch, and a crossbow. The Monster Squad, Fred Dekker’s gloriously goofy 1987
Every few months, without fail, something wonderful happens in the land of cinema. A rumble is heard. A leather boot steps into frame. Somewhere, a
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
