When considering a film, it can be healthy to have some skepticism, no matter what genre or subject matter is at hand. With regards to Omen, we have a Belgian-...
After a year-and-a-half of copyright drama, The People’s Joker is finally here. The daring mixture of both tones and form will be sure to impress anyone, even ...
Beginning with a rip-off of the (depending on who you ask) iconic Scott Free Productions logo––albeit with a rabbit instead of bird––I knew I was in for someth...
Early 2020s mainstream cinema may be continually dire, but even a fanatic like me is still willing to recognize patterns within. You can certainly place the ne...
I’ll admit I didn’t expect to see an overt Vertigo homage in the middle of this rather matter-of-fact Isabelle Huppert procedural. Fixating for a second on the...
Generally, when I enter the small sauna room at my local YMCA after a workout, I’m prone to eavesdrop (it is a confined space, after all) on a group of men opi...
Inserting yourself into the story you’re telling is always a risk. Kaouther Ben Hania, the director of Four Daughters, makes herself known in her docu-fiction ...
In July 2021, it was announced that Universal Pictures had spent $400 million to acquire rights to The Exorcist. Planning a trilogy, with two sequels that woul...
If you need an example of a movie that doesn’t earn the portentous use of chapter titles and an “Everything In Its Right Place” needle-drop, look no further th...
Wes Craven understood, when conceiving A Nightmare on Elm Street, the creepiness of our sacred sleep time being invaded, and Adam McKay was similarly onto some...
