Hobbies are funny things. As adults, we often come by them casually and with little sense of obligation. Maybe a friend convinces us to run a 5K with them and we find unexpected joy in running, or a quick search on Ancestry.com evolves into a years-long project to trace our …
Season 4 of The Crown is here. This is arguably the most anticipated season of the Netflix hit yet, by virtue of the ground it has to cover: anyone old enough to remember that fateful Paris car crash knows this season begins the public unraveling of one of the most private famous families in the world.
Another day, another “It’s fine, but the original was better” remake.
We look at Evil Eye and Nocturne, the most recent films from Amazon’s partnership with horror studio Blumhouse.
The ingredients of the second series are basically the same as the first, though it’s a completely new story. Several cast members from The Haunting of Hill House have returned in new roles. On top of that you’ve got plenty of familial strife, a cast of characters each haunted in their own way, and the bones of it all: the haunted house itself.
Two kids. A husband. A house in the suburbs. Bowling. Apple Pie.
The Swerve introduces us to the dread of its world in everyday, comfortable objects.
The Personal History of David Copperfield has been part of a parade of ‘oh-wow-are-they-making-a-movie-of-that-again?’ literary classic film adaptations to roll through the theaters (or, perhaps, our at-home-theaters) in the last 12 months.
The Boys Season 2 continues to do what it does best – highlight the narcissistic and capitalist greed surrounding the “branding” of superheroes – while adding a new layer of terror to the world’s least heroic do-gooders.
Metaphorical psychological horror directorial debuts from Australian female filmmakers – do we have a future possible hyper-niche listing for viewers scrolling Netflix?
The Old Guard had a lot of potential to be something special as a longer-form, character-based form of storytelling, with an intriguing core concept and stellar cast.
Could this be my House of Leaves ripoff in film format, at last?
Studio comedies like The King of Staten Island are becoming an endangered species these days. It’s even harder to find one that actually has heart.
When The Hunt revels in its absurdity and violence, it’s far more entertaining than when it’s trying to be mysterious.
Greed could’ve been great if it’d trimmed some of its broader ideas down, honed in on a clearer tone, and functioned as a ruthless takedown of capitalism and the billionaires who exploit it. But much like a tragic hero, it’s devoured by its own ambition.
The year is 2019, and the world is falling apart.
Movies reflect real-life events, societal trends, politics, and more. Sometimes, like a mirror, they do this with surprising immediacy. In other cases, like a shadow, films shortly follow behind reality’s wake. I’d argue 2019 wasn’t a singularly particularly devastating year for the country and the world as much as it is a bookend to a set of several taxing, tension-filled years.
