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Prey: Consent to Kill

Prey: Consent to Kill

Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series' core values.
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The Tragedy of Macbeth: Saggy Soliloquy

The Tragedy of Macbeth: Saggy Soliloquy

This well-endowed Macbeth strives for greatness without the stomach for it. Stylized visuals can't cover for all the meaning it misses.
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Zack Snyder’s Justice League: Prophet or False God?

Zack Snyder’s Justice League: Prophet or False God?

Zack Snyder's Justice League delivers on the promise to release every second of footage shot for its original cut, for better and not much better.
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The House: Nightmare Meditation

The House: Nightmare Meditation

The House shimmers with collective angst, a nightmare only stop-motion could make. So why does it make me feel so happy?
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Black Widow: Explosive Tedium

Black Widow: Explosive Tedium

Black Widow approaches genuine dramatic insight in parts but fails to make its title character more interesting than the performance is by default.
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Featured Article

Locating Realism in The Revenant

Locating Realism in The Revenant

The Revenant is a powerful statement on cinematic realism affected but not marred by its real toil. It's old cinema made epic again.
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Prey Title Image
M.C. Myers
Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series' core values.
The Tragedy of Macbeth
M.C. Myers
This well-endowed Macbeth strives for greatness without the stomach for it. Stylized visuals can't cover for all the meaning it misses.
Zack Snyder's Justice League
M.C. Myers
Zack Snyder's Justice League delivers on the promise to release every second of footage shot for its original cut, for better and not much better.
The House
M.C. Myers
The House shimmers with collective angst, a nightmare only stop-motion could make. So why does it make me feel so happy?
Black Widow
M.C. Myers
Black Widow approaches genuine dramatic insight in parts but fails to make its title character more interesting than the performance is by default.
Obi-Wan Kenobi Ewan McGregor
M.C. Myers
The final episode of Obi-Wan Kenobi gets everything to where it was going. Not even its best part could be worth the wait.
Obi-Wan Kenobi
M.C. Myers
Part V continues Obi-Wan Kenobi's habit of steamrolling plausibility with reverse-engineered plot directions, with a small twist.
Everything Everywhere All at Once
M.C. Myers
Despite triumphant performances and high ambitions, Everything Everywhere All at Once hopes to be so well-understood that it overexplains its triumphs away.
Obi-Wan Kenobi
M.C. Myers
So far, Obi-Wan Kenobi seems to be relying more on Star Wars fans to be excited in the absence of creativity than on its own inspiration or technical ability.
Prometheus Michael Fassbender
M.C. Myers
The much-maligned Prometheus hides an epic sci-fi fable despite failing to satisfy its own ambitions. Fassbender is genre-defining.
Godzilla King of the Monsters
M.C. Myers
Godzilla: King of the Monsters avoids the essence of its brand almost as aggressively as it avoids working on its script.
The Revenant
M.C. Myers
The Revenant is a powerful statement on cinematic realism affected but not marred by its real toil. It's old cinema made epic again.