Movies
Point Break is a cult classic: the film occupies a space that was uncommon in 1991, and unheard of now: the action-thriller with A-list...
Hi, what are you looking for?
Point Break is a cult classic: the film occupies a space that was uncommon in 1991, and unheard of now: the action-thriller with A-list...
We often say (to the point of cultural cliche) that “they couldn’t make this film today” but James Cameron’s love letter to the spy...
One of the best sequels ever made, James Cameron’s Aliens instinctively knows exactly which aspects of Ridley Scott’s 1979 classic Alien to embellish and...
Face/Off is an important moment in the Hollywood stage of action master John Woo’s career because it represents the only time that Woo was...
The Abyss was James Cameron’s Close Encounters of the Third Kind: a non-traditional passion project dealing with weightier science-fiction themes than normal for a...
Fargo is one of the greatest American films of all time. Like Hannah and Her Sisters, it has the feeling of a great novel...
I don’t normally discuss marketing in these reviews but I must make an exception here: there is no more representative aspect of the strange...
Is there any more perfect combination on paper than Bill Murray’s cinematic persona of “jerk who learns the value of his fellow man” and...
Critics often use the word “Hitchcockian” to describe scenes that evoke Psycho or Frenzy: long knives, killers stalking, deep psychological torment. This isn’t necessarily...
The Equalizer series has been one of the most interesting and dramatically fruitful adaptations of a classic television series in recent memory. The property...
The Expendables series is an unfulfilled promise, an unpaid bill, a workaholic father’s promise to finally take his children to Disneyland. What ought to...
Silent Night represents John Woo’s return to Hollywood after a twenty year absence. Trailers breathlessly proclaim him to be “the Michelangelo of the Action...
Godzilla Minus One sees the titular King of the Monsters simultaneously taken back to basics and pushed forward to reflect the anxiety of contemporary...
Concrete Utopia, South Korea’s nomination for Best Foreign Feature at the upcoming Academy Awards, is a tense thriller, a particularly honest class commentary, a...
Author’s Note: This essay contains minor spoilers for The Man From Nowhere. In The Man From Nowhere, Won Ban plays Cha Tae-sik, a pawnbroker...
The Expendables has always been a series that was better in concept than execution. Stallone envisioned it as both a reunion tour for the...
Showdown at the Grand is about the power of movies to give our lives mythological meaning and the joy of finding your niche of...
Written by David Pepose Art by Dave Wachter and Dan Brown Cover Art by Rod Reis Published by Marvel Comics Marvel Comics’ uncomfortable...
Past Lives is about nonsense, but not the nonsense we normally talk about in this space. No supermen from another world are here to...
Killers of the Flower Moon is flabby, unfocused, and at times, scattershot. It’s also a masterpiece. Master filmmaker Martin Scorsese develops and embellishes themes...
There’s a tendency for people who are passionate about international cinema, particularly when they first discover it, to breathlessly extol to anyone who will...
Previously in this space, I reviewed Arrow’s exemplary ShawScope Vol. 2 set, and called it a must-buy for fans of old school kung fu...
“Only the dead have seen the end of war.” – George Santayana, Soliloquies in England and Later Soliloquies It was a brisk fifty-five degrees...
Head Count is a true surprise: an unheralded low budget release from a first time feature director (or in this case, a directing team)...