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.
Julie Cohen's excellent new intersex documentary Every Body is informative and infuriating, but also empowering, entertaining, and surprisingly joyful.
Ruby Gillman, Teenage Kraken is a thing that exists. Of all the animated movies available this summer, Ruby Gillman, Teenage Kraken is inarguably…one of them.
Anton Corbjin's documentary is more than the story of the design firm behind some of music's most iconic album covers. It's also a funny and moving tribute to people, arts, and times now lost.
James Mangold's entry in the franchise is a sad reminder that larger-than-life heroes just get smaller and smaller if they don't know when to quit.
Jennifer Lawrence's attempt at an '80s-style sex comedy is slightly subversive, better than expected, and nowhere near as good as it might have been.
The real-life facts of cyclist Greg LeMond's story are dramatic enough, but the film about him could stand a little more Hollywood fakery.
What happens when you recognize a filmmaker as great, but still don't like their movies? With Asteroid City, I'm finally forced to work through my Wes Anderson issues.
Pixar used to be perfectionists about their stories. Based on the underbaked and underwhelming Elemental, they should go back to that philosophy.
Every national holiday needs its movies. Smart, funny, and socially-pointed, The Blackening is America's first great Juneteenth comedy.
Arriving in theaters during the popcorn-movie season, Celine Song's delicate, devastating debut feature is the kind of art that lasts.
A very troubled young person with extraordinary talents makes terrible decisions and causes a lot of damage. That's the story of The Flash, and it's also the story behind The Flash.
Alexandre O. Philippe’s new documentary is an entertaining but frustratingly limited exploration of cinema's "quintessential American dreamland" between The Wizard of Oz and David Lynch's films.
A strong lead performance is squandered in a frustratingly sparse, emotionally empty political thriller set in the Pinochet dictatorship.
The new Transformers movie is slightly better than the last one, which is sort of like having a slightly better case of the clap. It's an improvement, to be sure, but still best avoided altogether.
Across the Spider-Verse is a masterpiece: nearly overwhelming in its creative stimulation of the senses, but with a real emotional and narrative method to the madness.
My Summer of Summer Movies gets underway with a derivative (but reasonably effective) monster-under-the-bed movie from director Rob Savage.
After a long sabbatical, I'm returning with a vengeance, and an insane plan to see and review every movie released between Memorial Day and Labor Day.
On the 25th anniversary of James Cameron's record-breaking blockbuster, The Unenthusiastic Critic is going down with the ship.
Let the games begin, as The Unenthusiastic Critic enjoys her first viewings of two twisty murder mysteries.
In celebration of #Noirvember, we're watching John Sayles' underrated masterpiece about murder and lies in a Texas border town.
By popular demand, The Unenthusiastic Critic concludes this year's Halloween marathon with an absolutely bonkers new horror classic.
The Unenthusiastic Critic's annual October marathon reaches "that time of the month," as we watch John Fawcett's hormone-fueled horror movie.
The Unenthusiastic Critic's 2022 horror marathon continues with Georges Franju's poetically creepy classic.
Our 2022 Halloween marathon continues with the third film from George Romero's genre-defining horror trilogy.
Our schedule is erratic, and we’d hate for you to miss anything.
Subscribe here to receive email alerts when we post something new, and follow us on social media for the latest news.
We won’t send you any other crap. Promise.