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 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.
"Winterfell" feels a little too much like a box-checking prologue to the final season of Game of Thrones, not the exciting opening chapter.
Announcing the first of three e-books, collecting all my writing on Game of Thrones.
The Wall is down, and the games are over, and the surviving characters must now prove whether they've actually absorbed any of the show's lessons.
Last year, the Unenthusiastic Critic met Sean Connery's James Bond. Now, she's ready for Moore.
We're celebrating the 40th anniversary of Albert Brooks' seminal, and absurdly prescient, comedy.
Jordan Peele's triumphant sophomore effort is a smart and terrifying cinematic ordeal, and a disturbingly dark mirror held up to America.
Surfing? Bank robbery? Homoerotic bromance? We've found a film The Unenthusiastic Critic can be enthusiastic about.
The race for the Best Actress Oscar begins here, with Julianne Moore's remarkable portrayal of an unremarkable woman.
For St. Patrick's Day, we're heading back to the Emerald Isle with John Wayne and Maureen O'Hara for some John Ford paddywhackery.
We're switching seats this week, and The Unenthusiastic Critic is picking the movie: Spike Lee's semi-autobiographic joint Crooklyn.
That's right, we bad, we bad…and so, to be honest, is STIR CRAZY.
They call him MISTER Tibbs: we're celebrating Black History Month with one of Sidney Poitier's greatest performances.
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