Film
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
November 16, 2025
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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
The film is a riotous, goo-splattered melody. It’s the kind of gonzo moviemaking we’ve been thirsting for since we first saw the original 1984 film
So stay golden, Dallas. Step out into the night, buy a ticket, and lose yourself in the rain-soaked poetry of The Outsiders: The Musical. You’ll
Let’s be clear from the start. This is not Wayward Pines. No Shyamalan twists. No forest conspiracy cults. Instead, Wayward feels like what would happen
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
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
Enter Black Rabbit, an eight-episode limited series created by Zach Baylin, who previously wrote King Richard, Creed III, and The Order. This time, Bateman teams
Which brings us to their second feature, Bring Her Back, a film that asks the ultimate question of grief: “How far would you go to
In the annals of American independent cinema, few films have the improbable origin story, and the quiet gravitational pull of Charles Burnett’s Killer of Sheep.
Watching America’s Team is to be reminded that football is not just a game but a narrative engine, one that churns out myths as readily
So what is Mac and Me? Is it a failed E.T. knockoff? A cautionary tale about unchecked corporate synergy? A secretly progressive film that centers
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
There are filmmakers you respect, and then there’s Mike Judge; our unassuming, soft-spoken Nostradamus of middlebrow America. If Kubrick dissected humanity’s cosmic anxieties, Spielberg gave
By the spring of 2025, it became clear that horror; the moody misfit of cinema, the goth cousin at the awards season cotillion; was no
The show’s biggest flaw; its inability to decide if it wants to be heartfelt or farcical; is also, weirdly, its strength. Life, as Too Much
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
Let me start with a warning: Jennifer Lynch’s Chained is not a movie you casually throw on during date night unless your idea of a
Every ghost story begins with love. Every haunting begins with a full heart. Mine began when I became a widow at 38.
The Umbrellas of Cherbourg is one of those rare films that sings every single line; and still manages to sneak up and wallop you right
The Life of Chuck is the most beautiful film I’ve seen in years. It doesn’t shout. It hums. It weeps. It dances. And if you
Kill Tony is not just a stage; it’s a crucible. It finds voices others miss. It gives a mic to the overlooked. It celebrates the
Gone Girls: The Long Island Serial Killer is a must-watch for those who are drawn to the murky waters of true crime documentaries, a poignant
The Studio is easily one of the most masterful satires to emerge in decades
The Oscars are still the most grandiose and important awards show in the world.
Shoresy continues to push the envelope of both comedic irreverence and heartfelt sentiment, hitting the sweet spot of humor and warmth.
THE FILM In You’re Next, the B-movie bloodbath from director Adam Wingard, the indie horror scene gets a gleeful nod, with a cast and
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 Monkey, Osgood Perkins’s latest foray into the realm of horror, emerges as a curious amalgam of the director’s signature familial dysfunction and Stephen King’s
THE FILM There are few things more reliably entertaining than an outlandish ’90s horror film that knows exactly what it is, and wears that knowledge
