SLOTHERHOUSE (2023)
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.
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.
Orphan Black end its remarkable second season with darkness, discoveries, and dancing.
Binge-watching is increasingly how we watch television, so—in that spirit—I'm blasting through the first season of Breaking Bad, beginning with the first four episodes.
In the beginning, GAME OF THRONES seemed like a show about keeping the children safe. Now it's becoming a show about keeping safe from the children.
The Unaffiliated Critic is taking an Unauthorized Vacation.
Because when you fall in love with a movie-geek, this is what you get…
In a very special episode of Orphan Black, we meet long-lost brother Tony for the first—and let us hope last—time.
The concept of a "trial-by-combat" presupposes the intervention of a fair and just god. But what if the gods are all just vicious cunts?
In a television landscape in which the best we can usually hope for is an awareness of gender bias and misogynistic attitudes, ORPHAN BLACK is addressing them head on.
Some messy plotting and problematic character choices adds up to a bit of a mid-season slump for ORPHAN BLACK.
We all have a vision of the world the way it should be. It's a place where we all grow up in happy families (who care for us as they should), and we all go on adventures (which work out just the way they're supposed to), and we all fall in love and live happily after (with the person who will love us back forever). It sounds like a nice place, that world.
The time has come to take a serious look at Tatiana Maslany's performance(s). Because DAMN she's good.
Gareth Edwards' GODZILLA is a curious beast, neither fish nor fowl nor good red herring.
Maybe character really is fate, as Heraclitus said. Maybe everyone gets exactly what they deserve—or what they think they deserve.
ORPHAN BLACK is a show that can move between genres with ease, and this week we plunge head-on into horror.
From the Chicago Critics Film Festival, a review of THE ONE I LOVE, directed by Charlie McDowell, starring Elisabeth Moss, Mark Duplass, and Ted Danson.
"First of His Name" explores a theme that has been present all season: the way women are forced to navigate this world differently than men do, and to find ways to use their power differently.
Perception is limited, understanding is always imperfect, and mingling one's life with the lives of others can have unforeseen and unfortunate consequences.
In a world in which every person is defined by their house, family, nation, class, gender, and allegiances, deciding to change can be a bit of a challenge.
No one is just one thing, and—whatever we think we know—anyone can surprise us.
It's a tricky thing to be a hero. And—as Game of Thrones continually reminds us—it's a trickier thing to believe in heroes.
This week, I'm beginning ongoing coverage of Orphan Black's second season with a review of the season premiere.
The wedding of King Joffrey the First provides an opportunity to contemplate the nature—and degrees—of evil.
To say that OCULUS is a better-than-average scary movie is to acknowledge the tragically lowered expectations of the genre itself.
"Everything has changed," Cersei Lannister says this episode, and she's right. Welcome back to GAME OF THRONES.
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