A who’s who of extreme cinema lions hiding in the shadows here: Noe, Cronenberg, Lynch, Easton Ellis/Harron, Von Trier, Argento, and I’m sure I’m neglecting a few more. This shouldn’t work; it’s never worked for me before: arthouse horror sucks. But Fargeat snuck a
Frownland Spoilers Fully expected to hate this; turns out it was made specifically for people who hated the first one. Sat bemused and slightly irritated for the first forty minutes, feelings growing ever exacerbated by the minute following each howl from the Joker Head behind me, but when it reveals
Time Stop A little autobiography: My dad introduced me to Francis Ford Coppola through Apocalypse Now. First by way of his incessant quoting of the movie, particularly the immortal “I love the smell of napalm in the morning” line, and then via the DVD (theatrical, not redux) we had found
NOTE: This is meant to be read in conjunction with my Twisters review. "I'm definitely gonna be the People's champion, but . . . I'm gonna be the champ the way I wanna be." - Muhammad Ali Ring the bell, Deadpool is the People'
Note: Major spoiler in paragraph three. It’s easy to tell that Lee Isaac Chung—director of the modest, exceptional Arkansas drama Minari—wants to make a earnest paean to middle America and its folk culture while integrating the inexorable blemish of capital and technology on that culture, both popularizing
My story with Amadeus began, as I'm sure it often does, with my grandfather. My grandpa always liked movies, but demonstrated a particular inclination following my grandma's death: he would invite me over to watch classics like The Godfather and Gladiator or catch new releases that
There's one major spoiler here in the final paragraph. This one's for the cinephiles. The lovers of film. The celluloid obsessed. And MaXXXine couldn't be worse for it. A smug, satisfied, self-proclaimed "B-movie with A-ideas", MAXXXine is the nadir of Ti West&
Decent. Airless, but decent. Fails to recapture the regional magic of Jeff Nichols's great 2011-2012 masterpieces Take Shelter and Mud, films that sing with urgency and specificity and quite a bit to say about the narratives white Americans follow to gain a sense of footing in a fast-changing
Well, awesome, first of all. Total fucking gongshow creativity and ingenuity here, it's such a thrill to be back in the hands of the maestro after nearly a decade. My relationship to movies--and my orientation toward the world into which movies are birthed--has changed a lot in those
Foreword: My list has been set for months, but I couldn’t resist the urge to tinker with it obsessively until I realized, shit, we are just about to enter the sixth calendar month of the next year. Anyway, here it is. Fashionably late is better than never. There will
Good, but frustratingly close to being really good and occasionally great which makes the fact that it is merely good all the more disappointing. Schoenbrun has a vision, and commands exceptional control of color in their frames. They have big ideas, and a clear affection for the forgotten (and lost,
Spoilers below I'll never forget the feeling of total overwhelming awe that crashed into me upon the conclusion of Dawn of the Planet of the Apes, the feeling I chase with just about every movie I ever watch and rarely experience. It wasn't just me, either: