What's scarier than family? So we're talking about Ari Aster's breakthrough horror movie this week, as The Unenthusiastic Critic's Halloween movie marathon continues.
Questions of identity, duality, and transformation abound in a disturbing and surprisingly complicated episode of Lovecraft Country.
With its weakest hour yet, Lovecraft Country turns in a story that is at turns dull, derivative, and disturbing (but not in a good way).
OTHER RECENT POSTS
The Unenthusiastic Critic is celebrating #Noirvember with Bogie & Bacall in Howard Hawks' adaptation of Raymond Chandler's classic detective story.
Wanna hear a good joke? The great Jean Smart, playing a familiar face, descends on the world of Watchmen like a brick to the head.
In honor of the great John Witherspoon's passing, we're f–ing up the rotation this week, as Nakea introduces Michael to a '90s comedy classic.
Nothing is what it seems in the second episode of Watchmen, as we begin to question who everyone really is, and what their role is in the larger play.
Sleep all day, party all night, never get old, never die. It's good to be the Unenthusiastic Critic.
In a textually dense, stunning debut episode, HBO's WATCHMEN announces its ambitious agenda of tackling the narratives of white supremacy in America.
The Unenthusiastic Critic is bugging out, as our Halloween Movie Marathon continues with Dario Argento's weirdest movie.
Our horror marathon continues with Nicolas Roeg's masterpiece of grief, marital disintegration, and impending doom. (In other words, it's business as usual for The Unenthusiastic Critic.)
It's quiet in here—a little TOO quiet—as The Unenthusiastic Critic continues her 2019 Horror Movie Marathon with John Krasinski's muffled monster movie.
It's alive! The Unenthusiastic Critic's 2019 Halloween Movie Marathon gets underway with a classic creature double-feature from the golden age of the Universal movie monsters.
We're recording our deepest, most intimate thoughts on Steven Soderbergh's seminal debut feature, which is celebrating its 30th anniversary.
The fall's probably gonna kill us, as we celebrate the 50th anniversary of Newman and Redford's quintessential buddy western with The Unenthusiastic Critic's first viewing.
The I-Land wants desperately to be Lost. Dull, derivative, and dumb, it should be lost, and it should stay lost.
It's the end of the world as we know it, and it can't come fast enough for The Unenthusiastic Critic, as she endures her first viewing of Michael Bay's disaster porn.
It's the most sensational, inspirational, celebrational, muppetational episode of The Unenthusiastic Critic yet.
This week, The Unenthusiastic Critic is caught between the moon and New York City, as we sit down for Steve Gordon's dipsomaniacal comedy.
The Unenthusiastic Critic is venturing into the heart of darkness for her first viewing of Francis Ford Coppola's Apocalypse Now, released 40 years ago this week.
The Unenthusiastic Critic is firing all of her guns at once at a counterculture classic.
Dexter Fletcher's Rocketman is endearingly goofy, and occasionally moving, but only rarely transcends the shallow limitations of a jukebox musical.
And now our watch is ended. But did Game of Thrones, or its characters, get the ending they deserved?
The penultimate episode of Game of Thrones demands that we reconsider everything—including our investment in this show and these characters.
A sometimes infuriating episode reminds us that neither Game of Thrones nor its characters are going to suddenly become perfect at the last minute.
Visually muddy, and emotionally clichéd, "The Long Night" begs the question: What sort of ending are we hoping for from Game of Thrones?
"A Knight of the Seven Kingdoms" is Game of Thrones at its absolute best. It is a last chance to remember—before all hell breaks loose—that this show was always about people, not special effects.