Atlanta Film Critics Circle (AFCC) selects LICORICE PIZZA as 2021’s Best Film
Other winners include Jane Campion, Benedict Cumberbatch, Drive My Car, and The Mitchells vs. The Machines
Other winners include Jane Campion, Benedict Cumberbatch, Drive My Car, and The Mitchells vs. The Machines
TAMMY AND THE T-REX should be as beloved a cult object as THE ROOM or BIRDEMIC. This recently rediscovered gem is not to be missed.
Jane Campion’s latest is a thoughtful look at masculinity in the dying old west and gives way to the best performance of its star’s career
One of this year’s best films is a black-and-white portrait of memories-in-the-making. And, no, I’m not talking about Belfast. Sure, Belfast will be a top Oscar contender – it’s a crowd-pleasing, generic film filled with Oscar-bait performances. But I’m talking about the other, better black-and-white film of this Oscar season: C’mon C’mon.
Paul Thomas Anderson’s latest sets the highest possible bar for cinema in 2021
GUNPOWDER MILKSHAKE dropped on Netflix, and, despite a stellar cast, vanished almost immediately into the Content Hole. What went wrong?
DUNE: PART ONE is a masterpiece of science fiction. It is also part of a longstanding demonization of fatness that came to a head for me in 2021.
The Love Parade, one of the earliest movie musicals, is streaming now on the Criterion Channel. Fun but flawed, this one is ripe for a remake.
A cautionary tale ahead of the highly anticipated film’s release
Let’s just state it plainly: The Last Duel looks awful. There’s the hair, to start with the superficial – Matt Damon sports a horrendous medieval mullet, while Ben Affleck’s tresses are bleached to oblivion and shaped into a childish bowl cut. It’s not the kind of thing you’d normally comment on, except these haircuts are so supremely and distractingly awful even the cast wondered if director Ridley Scott knew what he was doing with them.
A half human, half lamb hybrid from A24? Sounds like the stuff of nightmares, but the reality is a little more complex than that.
With his final 007 outing, Daniel Craig attempts to go out on a high note, and comes so tantalizingly close.
You can’t really talk about Venom: Let There Be Carnage without talking about what started it all: Venom. When Venom came out in 2018, I didn’t know what to make of it. It felt like it was a random, mad-libs-generated version of a film powered by a strange combination of earnestness and chaos.
Malignant is a classy, pricey take on the Troma-esque exploitation film. Unexpectedly, it absolutely delivers on that promise.
Calling Werewolves Within the best video game movie ever made is damning it with faint praise. This is a genuinely charming character-driven horror-comedy with a phenomenal cast.