Film
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
April 1, 2026
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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
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
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
Frailty is horror with a soul, a brain, and, most disturbingly, a body count that feels frighteningly plausible. It’s a film about family, faith, and
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,
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
In the end, The Fantastic Mr. Fox is not merely an adaptation but a kind of artistic convergence. It’s a meeting of Dahl’s mischievous imagination
There are worse ways to spend two hours; but most of them involve jury duty, amateur dental surgery, or watching this film again. In the
Will there be more Mission: Impossible movies? Of course. No self-destructing tape has ever actually self-destructed in Hollywood. But whether Cruise will remain its beating
That Nonnas is unlikely to sweep award season is beside the point. Its triumph lies in its soul. Like the best home-cooked meals, it sneaks
Wendy Sachs’s new documentary, October 8 (Hate), is essential because it captures what so many of us have been trying to say, trying to scream,
Ultimately, what we have here is not just a remaster; it’s a testament to the enduring power of Tommy Boy. This is a film that
THE FILM There are seven golden words that anyone involved in the world of entertainment eagerly awaits: “Live from New York, it’s Saturday Night.”
THE FILM Is We Live in Time the romance for the ages, or a more intricate emotional puzzle from A24? Directed by John Crowley (The
THE FILM Jon M. Chu’s Wicked, the long-awaited cinematic adaptation of the smash Broadway hit, arrives as a spectacle so bloated, so mired in
THE FILM When Quentin Tarantino’s Jackie Brown was released in 1997, following the seismic success of Pulp Fiction, it didn’t immediately become the pop-culture
THE FILM In Heretic, Hugh Grant delivers a masterclass in subtle menace. It’s a film that finds dark humor in the tension between civility
In 2025, horror is a genre that’s not only surviving; it’s thriving. With films like Wolf Man, Presence, Heart Eyes, and The Monkey staking their
THE FILM With Kill Bill: Volume 1, Quentin Tarantino reintroduces the gloriously brutal world of Kung-Fu cinema, channeling the spirit of Bruce Lee, Jackie Chan,
Universal Monsters, once a pantheon of hauntingly human fears and grotesque grandeur, have suffered a strange fate in the hands of contemporary filmmakers. From the
What’s remarkable about Hush is how confidently it resists the usual genre crutches. No jump scares every five minutes, no implausible rescues, no final act
If there’s one thing Sony’s Venom franchise has never lacked, it’s audacity. From the moment Tom Hardy first donned the black symbiote, the series has
Speak No Evil is a shameful exercise in creative cowardice. It’s a film that has been stripped of the edge and substance that made its
Alien: Romulus proves that, even after decades of evolution, the franchise still has the teeth to deliver pure, unadulterated fear. Highly recommended for any fan
