Arriving amid a fat and pricey blitz of hype, Jordan Peele’s Nope is a willfully eccentric bear of a movie. You could call it Peelean. Like his earlier hits, Ge...
The new adaptation of Jane Austen's Persuasion is like an Impossible patty versus a Waygu burger. Or, put another way, if Austen is a dry martini, ironic and br...
Peter Strickland’s new film, Flux Gourmet, revels in savory, deadpan freakitude, but I’m going to have a hard time telling you what it is. It’s not any kind of ...
A kind of career-capping, gross-out victory lap, David Cronenberg’s Crimes of the Future, is a triumph of perverse auteurism. To say no other artist could’ve sp...
Horror films aren’t just horror films anymore – like Alex Garland’s Men, these lurkers could be an emerging subgenre, and we could heretofore borrow a label fro...
Director Gaspar Noé has carved out a unique kind of provocateur role for himself—he rubs our snouts in sex and violence and visual dazzle, but he’s also somethi...
It obviously seemed like a great idea: make a Nicolas Cage movie about Nicolas Cage, simultaneously glorifying and satirizing Cage’s inimitable (but very imitab...
America’s reigning middlebrow geek queen, and certainly the only doctor of neuroscience to become a multimillionaire as a sitcom star, Mayim Bialik is now makin...
Long before it face-plants entirely, about halfway through, Phillip Noyce’s The Desperate Hour is already kneecapped with cliches. From the first shots of Naomi...
Joe Wright’s Cyrano , is not the first musical version of the old Rostand chestnut: Wikipedia lists six different musicalizations in the past half-century—inclu...
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