This week we're revisiting Carl Franklin's sorely under-appreciated neo-noir, which celebrates its 25th anniversary this month.
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).
Jurnee Smollett gives a stunning performance in the strongest, most emotionally compelling episode of Lovecraft Country so far.
Great films are rarely made from great books, and Ciro Guerra's film of J.M. Coetzee's novel underlines the perils—and even the pointlessness—of many literary adaptations.
OTHER RECENT POSTS
Gore Verbinski's stylish horror film manages to entertain the eye and taunt the brain, but it never really engages the heart or soul.
James Baldwin's is the voice we need right now, and director Raoul Peck knows it, bringing a comparable clarity and poetry to one of the most powerful and provocative films of the year.
In the latest installment of my Independent Study in World Cinema, I take an unfortunately timely look at how Leni Riefenstahl helped "make Germany great again" with her propagandist "documentary" about the Nazi party.
Lyrical, sensual, and wise, Jean Vigo's L'Atalante is a film about the stink of love, the squalor of love, the anger and boredom and perverse complexity of love.
Theodore Melfi's Hidden Figures is not a groundbreaking film, but an old-fashioned, very entertaining film about some groundbreaking people.
Here at The Unaffiliated Critic, we appreciate the illusory, arbitrary promise of a fresh start as much as anyone. So here are my New Year's Resolutions for 2017.
There are many ways in which 2016 was a terrible, no-good, very bad year. But television provided a ridiculous embarrassment of riches.
The sixth season finale of Game of Thrones finds women seizing control of the board. But who will these women need to become to hold onto power?
Four shows enter. Three shows suck.
The third week of the Fall 2016 premiere season brings a veritable cornucopia of new network shows—most of them far better than I expected.
In this week's installment of "First Look/Last Look," it's a bit of a mixed bag.
Every year in “First Look/Last Look,” I pan for TV gold in the fetid riverbed of the new fall season. This year, the first batch—surprisingly—is all gold.
"Battle of the Bastards" is a magnificent hour of television. But is it a great episode of Game of Thrones?
"No One" ever thinks they're the bad guy, but there comes a time when everyone has to ask themselves the question.
This week, we see all the broken people trying to figure out what can be built from the shattered pieces of the past.
An awkward and underwhelming episode focuses on the question of family loyalty.
"Terrible things happen for a reason," we are told in "The Door." But is that really a comforting thought?
In "Book of the Stranger," the ladies of Game of Thrones are gettin' in formation—cause they slay.
In "Oathbreaker," we are reminded that the game of thrones is largely a game of words. Control the stories, and you can control the world.
When it's not trying to be more, Civil War is a fantastic superhero movie.
In "Home," everyone grapples with how the mistakes of the past have led to the horrors of the present.
We sing of bodies eclectic on the sixth season premiere of Game of Thrones.
Fritz Lang teaches us all how to catch a killer, and teaches a generation of filmmakers how to use sound effectively.
As I plan out my Independent Study in World Cinema, I could use some help in making sure I don't overlook great female directors.