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.
"The Collaborators," and "To Have and To Hold" both deal with different facets of one of Mad Men's central themes: the peculiarly American trait of never being satisfied with what we have.
My perspicacious analysis of this episode can be summed up thusly: "HOLY FUCKING SHIT THAT WAS TOTALLY AWESOME."
"Hide" is not just the best entry in Series 7 so far; it's also a perfect example of how classic Who can be updated for modern times.
I take a little break from analysis, and approach "Walk of Punishment" as an excuse for some general appreciation and a long overdue geek-out. Because DAMN this show is good.
If I find myself just reviewing an episode, it usually means something has gone terribly, terribly wrong. So here's my review of "Cold War."
The man born as Dick Whitman had to die once to escape who he was, and now—as the world has changed unrecognizably around him—the carefully constructed persona he created just feels like another stagnant, stifling identity he longs to shed and leave behind.
Houses have fallen, families are scattered, and the old order changeth: so what will happen to all these orphans of the storm?
Neil Cross's "The Rings of Akhaten" calls back to classic Who in wonderful ways, and stands as one of the best episodes of the season.
Welcome back to GAME OF THRONES, and brace yourself. All men must serve…and all men must die.
DOCTOR WHO returns with a disappointing entry from Steven Moffat, in which the Doctor and Clara meet-cute—for the third time.
"So I think I’ve always just put Blade Runner in that Waterworld, Thunderdome type of movie genre, where people are fighting wars over pee, or using pee as water, or whatever. I don’t know."
The subject of this week's Independent Study in World Cinema is a film that not only gave us one of film's greatest performances, but revolutionized the presentation of acting on-screen: Carl Theodor Dreyer's The Passion of Joan of Arc (1928).
My picks and predictions for the 85th Annual Academy Awards.
If the slick, competent, painfully derivative thriller Side Effects does indeed turn out to be Soderbergh's swan song, it will be the sadly appropriate capstone to a career that promised so much brilliance, and delivered so little originality.
In this week's Independent Study in World Cinema, I take a look at one of the most visually influential films of all time: Fritz Lang's seminal 1927 science-fiction classic METROPOLIS.
After a few weeks of silent cinematic masterpieces, preceded by several months of austere Oscar-bait movies, one does get the urge to watch a deeply silly popcorn movie—preferably, if possible, a teen-age-romantic-comedy-action-adventure-with-zombies. Thankfully, there happens to be one out.
This is the third entry in the series “Independent Study in World Cinema,” in which this self-educated film nerd attempts to fill in some fairly serious gaps in his self-education. This week, I take a look at a film about revolution that sparked a revolution in film: Sergei Eisenstein's 1925 epic Battleship Potemkin.
Continuing the “Independent Study in World Cinema” series, I take a long look at the movie that—for better or worse—started cinema's love affair with vampires: F.W. Murnau's NOSFERATU: A SYMPHONY OF HORROR (1922).
A new series exploring influential films from around the world begins with Robert Weine's 1920 classic THE CABINET OF DR. CALIGARI.
If you'd asked me six weeks ago, I'd have told you 2012 was a mediocre year for movies. This is, of course, partially the fault
A list of my 15 favorite motion picture performances of 2012.
They are not, necessarily, bad films; some of them may even be good films. They are films, however, that deserve to be brought down a peg or two, and I'm just the unlicensed internet hack to do it.
"When you traffic in this territory, however satirical or irreverent you want to be, it takes a much stronger empathy towards the material in order to be successful."
Though Django Unchained is problematic in about a dozen different ways, my chief objections are not political, historical, moral, ethical, or linguistic: they're aesthetic. It just isn't a very good movie.
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