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Invasion of the Body Snatchers (1978) – Imposter Horror

Invasion of the Body Snatchers (1978) – Imposter Horror

Invasion of the Body Snatchers remakes a great B-movie with intellectual terror. It knows that irony makes it even scarier. This is pure horror joy.
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Cyrano (2021) – Glossing Over a Classic

Cyrano (2021) – Glossing Over a Classic

Peter Dinklage is a powerful force for good in an otherwise listless adaptation that misinterprets whatever it doesn't omit entirely.
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Samaritan – Bum Rap

Samaritan – Bum Rap

Samaritan accepts on faith that the audience thinks Stallone is a superhero. His charm, and almost nothing else, makes it sporadically watchable.
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Sin (Il Peccato) – Holy Unhappiness

Sin (Il Peccato) – Holy Unhappiness

Sin is a portrait of an artist in pain, with god-defying amounts of melancholy. Lovers of classic art cinema will enjoy this more than he enjoyed himself.
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Lightyear – Origin Sin

Lightyear – Origin Sin

Lightyear was so tangled in its struggle for effective marketing that every aspect of its filmmaking became a lower, or nonexistent, concern.
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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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Invasion of the Body Snatchers
M.C. Myers
Invasion of the Body Snatchers remakes a great B-movie with intellectual terror. It knows that irony makes it even scarier. This is pure horror joy.
Cyrano
M.C. Myers
Peter Dinklage is a powerful force for good in an otherwise listless adaptation that misinterprets whatever it doesn't omit entirely.
Samaritan
M.C. Myers
Samaritan accepts on faith that the audience thinks Stallone is a superhero. His charm, and almost nothing else, makes it sporadically watchable.
Sin
M.C. Myers
Sin is a portrait of an artist in pain, with god-defying amounts of melancholy. Lovers of classic art cinema will enjoy this more than he enjoyed himself.
Lightyear
M.C. Myers
Lightyear was so tangled in its struggle for effective marketing that every aspect of its filmmaking became a lower, or nonexistent, concern.
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.