In 1990, Kevin Costner's epic western was widely hailed as major progress in Hollywood's representation of indigenous people. But what will The Unenthusiastic Critic make of it 30 years later?
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
Where we're going, we don't need roads. It's The Unenthusiastic Critic, now in podcast form! Listen to our pilot episode, as Nakea and I sit down for her first viewing of Back to the Future.
In a very good year for cinema, I'm naming my top-five films in six categories: Drama, Comedy, Action, Horror, Animation, and Documentary.
In the second part of my retrospective on Steven Moffat's era of Doctor Who, I discuss the Moffats with the Mostest: my all-time favorite stories from Seasons Five through Ten.
In the first (and grumpier) of two retrospectives on Steven Moffat's Doctor Who, I run down my 20 least favorite stories from Seasons Five through Ten.
Erik Nelson's new documentary is a near perfect distillation of homegrown American crazy, and a timely look at a dark undercurrent of American culture.
Sabaah Folayan and Damon Davis' infuriating and empowering new documentary about Ferguson is essential viewing for every American.
Steven Soderbergh is back—but have we really missed him?
"Beyond the Wall" might just be the dumbest episode of Game of Thrones ever, but there's good stuff here if we look beyond the contrivances.
"Eastwatch" is something of a table-setting episode, but it also looks at how fathers live in their children, for better or worse.
Some thoughts—from a white liberal, for white liberals—on Charlottesville, privilege, and the need to shift our fundamental understanding of our country.
No. Just no.
Like the rest of its dishonorable and disposable ilk, Annabelle: Creation is just a fairly efficient machine for generating meaningless jump-scares.
Luis Prieto's KIDNAP, starring Halle Berry, is a cheap and ugly grindhouse film for the soccer-mom set.
The stunningly good "The Spoils of War" packs a lot of emotional subtext into a short and action-packed episode.
Amanda Lipitz's documentary is a rare and inspiring celebration of the love, beauty, and optimism of disadvantaged black communities.
Nikolaj Arcel's quick and pointless adaptation of Stephen King's sprawling epic is a tepid, paint-by-numbers picture.
Simplistic, reductive, and perversely exculpatory, Kathryn Bigelow's DETROIT is well-executed torture-porn that irresponsibly exploits the destruction of black bodies.
In "The Queen's Justice," ice and fire finally come together, and everyone needs to let go of the things they think they know.
Holly Hunter is always good, but Katherine Dieckmann's road-trip movie drives her down some frustratingly contrived roads.
I do not seem to have the appropriate catalog of symbols on my app to adequately express my feelings about The Emoji Movie.
Charlize Theron can do no wrong, but Atomic Blonde needed to either be a whole lot smarter, or a whole lot stupider, to be any fun at all.
In my attempt to see and review every new movie this summer, I've fallen a little behind. Here are shamefully quick takes on films that didn't get full reviews, including The Bad Batch, The Little Hours, A Ghost Story, and Lady Macbeth.
With new allegiances being forged, "Stormborn" tests the strengths—and limitations—of different kinds of loyalty.
Funny, fearless, and full of genuine feeling, Girls Trip is the best American comedy of the summer.