Jordan Peele has made the first essential horror film of the Black Lives Matter era, and the smartest, most self-aware scary movie since The Cabin in the Woods.
Gore Verbinski's stylish horror film manages to entertain the eye and taunt the brain, but it never really engages the heart or soul.
James Baldwin's is the voice we need right now, and director Raoul Peck knows it, bringing a comparable clarity and poetry to one of the most powerful and provocative films of the year.
In the latest installment of my Independent Study in World Cinema, I take an unfortunately timely look at how Leni Riefenstahl helped "make Germany great again" with her propagandist "documentary" about the Nazi party.
Lyrical, sensual, and wise, Jean Vigo's L'Atalante is a film about the stink of love, the squalor of love, the anger and boredom and perverse complexity of love.
Theodore Melfi's Hidden Figures is not a groundbreaking film, but an old-fashioned, very entertaining film about some groundbreaking people.
Here at The Unaffiliated Critic, we appreciate the illusory, arbitrary promise of a fresh start as much as anyone. So here are my New Year's Resolutions for 2017.
There are many ways in which 2016 was a terrible, no-good, very bad year. But—in between terrible news stories and horrifying election results—television provided a ridiculous embarrassment of riches.
The sixth season finale of Game of Thrones finds women seizing control of the board. But who will these women need to become to hold onto power?
Four shows enter. Three shows suck.