Recent Articles
Prey: Consent to Kill
By M.C. Myers / August 5, 2022
Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series' core values.
Read MoreThe Tragedy of Macbeth: Saggy Soliloquy
By M.C. Myers / July 29, 2022
This well-endowed Macbeth strives for greatness without the stomach for it. Stylized visuals can't cover for all the meaning it misses.
Read MoreZack Snyder’s Justice League: Prophet or False God?
By M.C. Myers / July 19, 2022
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.
Read MoreThe House: Nightmare Meditation
By M.C. Myers / July 15, 2022
The House shimmers with collective angst, a nightmare only stop-motion could make. So why does it make me feel so happy?
Read MoreBlack Widow: Explosive Tedium
By M.C. Myers / July 9, 2022
Black Widow approaches genuine dramatic insight in parts but fails to make its title character more interesting than the performance is by default.
Read MoreFeatured Article
Locating Realism in The Revenant
By M.C. Myers / May 11, 2022
The Revenant is a powerful statement on cinematic realism affected but not marred by its real toil. It's old cinema made epic again.
Read More M.C. Myers
Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series' core values.
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.
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.
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?
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.
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.
M.C. Myers
Part V continues Obi-Wan Kenobi's habit of steamrolling plausibility with reverse-engineered plot directions, with a small twist.
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.
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.
M.C. Myers
The much-maligned Prometheus hides an epic sci-fi fable despite failing to satisfy its own ambitions. Fassbender is genre-defining.
M.C. Myers
Godzilla: King of the Monsters avoids the essence of its brand almost as aggressively as it avoids working on its script.
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.