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An analysis of Villeneuve’s dreamy thriller, Hitchcock accelerated to spiritual attack speed. Arachnophobes beware.
Ad Astra attempts to be a space opera and family melodrama. Failing both becomes additive - even its best intentions seem misplaced from other films.
Ari Aster's Midsommar shows the dark side of empowerment, which is its main success. That so many consider it a self-help film is its main curiosity.
Robert Altman's adaptation of Popeye feels more like a redaction. His serious silly world is more interesting as a failure than enjoyable as a living cartoon.
1917 is a capable demonstration of technology matched to an overreaching story. Exactly what meets the eye.
Conan the Barbarian throws itself into the brutal past, wielding its actor's charm like a broadsword. Only plot conventions are strong enough to hurt him.
Inglorious Basterds resurrects the best in war films while ignoring the worst in war. The result is wrathful Tarantino magic.
Hello, Dolly! takes Gene Kelly's penchant for grinning and perverts it with feel-bad romantic philandering. A charming play becomes a genre-killer.
Dragonslayer has the texture of the old fables. It finds adventure in a stricken world, including a lot of horror for the characters. And delight for us.
Alice Through the Looking Glass is to wonderment what purging is to eating. It not only robs you of your meal - it even makes you regret it.
My Neighbor Totoro may not be Miyazaki's best film, but it's a quiet little thesis on his worldview. And it's one of the most magical things ever drawn.
The horror in Alien is as disquietingly personal as any sci-fi epic ever made. This is the genre's ultimate masterclass in turning style into story.
