On a new episode of the podcast, we witness a clash of the titans, as The Unenthusiastic Critic meets two timeless movie stars for the very first time.
On the 10th anniversary of Game of Thrones, we look back at the episode that started it all, and see how the thematic template for the series was there from the start.
In a belated new edition of the blog/newsletter, I share some thoughts on hitting the pandemic wall, as well as quick takes on It's a Sin, Allen v. Farrow, For All Mankind, Minari, Nomadland, and other stuff.
OTHER RECENT POSTS
Colin Trevorrow's new movie is horrible in unique, unfathomable, nearly unprecedented ways.
Tired, tedious, and tame, Lucia Aniello's Rough Night (2017) lacks the courage of its pretended coarseness.
Johannes Roberts' murky, oxygen-deprived shark movie is dead in the water.
Once, Pixar made a movie about talking cars, and it made a lot of money. So, they made another one. Now, they've made a third one.
Heart-warming and soul-crushing in almost equal measures, Ken Loach's new film is a furious, funny, unfailingly humane masterpiece.
Existing at a curious nexus of buddy-comedy and crime-thriller, writer-director Ned Crowley's dark debut feature is uneven but promising.
What could I possible say about Mark Gatiss's writing that I haven't said before? Not a thing, so I'm not even going to try…
Trey Edward Shults both explores and exploits our fears of the unknown, in a stark, harrowing, disturbingly intimate horror film.
Roger Michell's adaptation of du Maurier's novel is a stately exercise in indecision, and something of a cinematic Rorschach test.
Director Gabriela Cowperthwaite and star Kate Mara bring remarkable restraint, sensitivity, and authenticity to a feel-good story about a soldier and her dog.
I don't expect The Mummy to be the worst movie I see all year, but it's a banal mediocrity that bodes ill for Universal's interconnected "monster" franchise.
In "The Lie of the Land," the multi-part story of the Monks comes to an end, with patently ridiculous plotting and sadly diminishing returns.
Comedian Demitri Martin's feature debut is not a completely insufferable movie, but it is a completely insubstantial one.
Sarah Adina Smith's ambitious second feature is a provocative, harrowing, and haunting film, if a slightly too-perfect vehicle for star Rami Malek.
Not since the Blitz has Winston Churchill been forced to suffer through this kind of bombing.
Every generation needs to learn potty humor, slapstick, and a total disregard for authority. Thankfully, Captain Underpants is here to lead the way.
Rest easy, well-wishers—and suck it, haters—Wonder Woman is a major triumph.
The Unaffiliated Critic—somewhat recklessly—announces his plan to see and review every single movie that opens between Memorial Day and Labor Day.
"The Pyramid at the End of the World" presents a familiar conflict: the Doctor vs. God. So this week I'm taking a long look at the treatment of religion in New Who.
Steven Moffat's "Extremis" inspired some thoughts on River Song, death, and the problem of endings in Doctor Who.
Ridley Scott gives up on the incomprehensible mythology of Prometheus, and sadly embraces the uninspired misery of another Alien retread.
"Doctor don't you call me, cause I can't go/ I owe my soul to the company store…" Workers of the world unite behind the Doctor in Peter Mathieson's "Oxygen."
Delivering nothing, saying nothing, and meaning nothing, Mike Bartlett's "Knock Knock" is a forgettable and regrettable hour of Scooby Who.
Some excellent character work elevates a fairly standard "monster-of-the-week" story.