We have met the enemy and he is me, as I use a MAGA conspiracy theory as an excuse to introduce Nakea to John Woo's preposterous action thriller.
This week's blog/newsletter features some labored thoughts on the writing process, and quick takes on The Dig, Malcolm & Marie, The Little Things, I May Destroy You, and other things I've been watching.
OTHER RECENT POSTS
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.
Simultaneously awful and glorious—but always beautiful—Luc Besson's buddy-cop space opera is a goofy, gonzo, candy-colored cornucopia of silliness.
Elsa Dorfman is likable and interesting, but Errol Morris's documentary both overstays its welcome and under-explores its subject.
Christopher Nolan's Dunkirk masterfully captures a key moment of human triumph, but it is not a film that's remotely interested in human beings.
Someone should have wished for a better movie.