Godard said all you need for a movie is a girl and a gun, but did he ever really consider the cinematic possibilities of a sloth with a sword? The minds behind the horror-comedy Slotherhouse did, and we thank them for it.
As Golda Meir, Helen Mirren gives a showy but shallow impersonation, in a disappointing historical biopic more emotional than illuminating.
My choices for who will win, who should win, and who must not be allowed to win at the 96th Annual Academy Awards.
In which I look back on my preposterous (and predictably failed) attempt to write about every movie that opened this summer.
Denzel Washington eats, prays, loves, maims, mutilates, and murders in Anton Fuqua's The Equalizer 3 (2023), a dumb and dour action thriller that is both unpleasant to watch and bad for the world.
Sarah Adina Smith's ambitious second feature is a provocative, harrowing, and haunting film, if a slightly too-perfect vehicle for star Rami Malek.
Not since the Blitz has Winston Churchill been forced to suffer through this kind of bombing.
Every generation needs to learn potty humor, slapstick, and a total disregard for authority. Thankfully, Captain Underpants is here to lead the way.
Rest easy, well-wishers—and suck it, haters—Wonder Woman is a major triumph.
The Unaffiliated Critic—somewhat recklessly—announces his plan to see and review every single movie that opens between Memorial Day and Labor Day.
"The Pyramid at the End of the World" presents a familiar conflict: the Doctor vs. God. So this week I'm taking a long look at the treatment of religion in New Who.
Steven Moffat's "Extremis" inspired some thoughts on River Song, death, and the problem of endings in Doctor Who.
Ridley Scott gives up on the incomprehensible mythology of Prometheus, and sadly embraces the uninspired misery of another Alien retread.
"Doctor don't you call me, cause I can't go/ I owe my soul to the company store…" Workers of the world unite behind the Doctor in Peter Mathieson's "Oxygen."
Delivering nothing, saying nothing, and meaning nothing, Mike Bartlett's "Knock Knock" is a forgettable and regrettable hour of Scooby Who.
Some excellent character work elevates a fairly standard "monster-of-the-week" story.
New companion Bill learns what it means to travel with the Doctor—and proves her mettle—in a strong second episode.
It's a brand new season, a delightful new companion, and a welcome new beginning for Doctor Who.
Silly, soulless, and disappointingly executed, Life is an instantly forgettable B-movie dressed up—not very convincingly—to look like a serious production.
Thoughtful, powerful, and existentially bleak, Logan may be the film that finally expands our expectations of what a "superhero movie" can be.
The Unenthusiastic Critic—my reluctant wife—returns for her first viewing of Robert Aldrich's macabre camp classic.
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 television provided a ridiculous embarrassment of riches.
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