The Running Man Trips Across the Starting Line
Edgar Wright’s dystopian satire, The Running Man, tries to play it safe and ends up pleasing no one.
379 Article(s) by: Eileen Jones
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Eileen Jones is a film critic at Jacobin, host of the Filmsuck podcast, and author of Filmsuck, USA.
Predator: Badlands Keeps the Hunt Alive
Predator: Badlands delivers a fresh spin on the nearly 40-year-old franchise by delving deeper into the alien society at the heart of the franchise. Judging by the impressive box office performance, it’s a rare hit in an otherwise dismal movie season.
Guillermo del Toro’s Frankenstein Is Dead Flesh Reanimated
Guillermo del Toro’s long-awaited Frankenstein adaptation for Netflix is a big, bloated mess. Much like Frankenstein’s Creature, it’s dead matter, crudely stitched and bolted together.
Richard Linklater’s Blue Moon Is a Film for Musical Superfans
Richard Linklater must have extraordinary pull to get big-screen releases for his two esoteric period movies this year, because only a small group of avid American musical superfans will find Blue Moon interesting.
The Springsteen Movie Is an Emotional Workout for Depressives
Springsteen: Deliver Me From Nowhere is the kind of well-done, serious drama that used to be commonplace in American filmmaking and now is vanishingly rare.
Bugonia Is Yorgos Lanthimos at His Best
In Bugonia, Emma Stone plays a kidnapped pharmaceutical CEO trying to convince her deranged abductors that she’s not a sinister alien in disguise. As a portrait of our political impasse, it’s a shocking, wild ride with an ending you won’t see coming.
1960: The Year the Modern Horror Film Was Born
A combination of the breakdown of the Hollywood studio system, the decline of censorship, and the rise of wildly — and luridly — creative filmmakers across the world looking to cash in on sex and violence made 1960 the year of the modern horror film.
Channing Tatum’s Roofman Is a Bummer of a Feel-Good Movie
In Roofman, Channing Tatum plays a real-life lovable burglar and family man trying to make it in America. But while writer-director Derek Cianfrance clearly wanted a lighthearted, feel-good movie, Roofman is instead a dark exploration of American pathos.
Hollywood Could Use Another Robert Altman Right Now
The Criterion Channel’s retrospective on Robert Altman, the auteur behind masterpieces like Nashville, M*A*S*H, and The Long Goodbye, is a reminder that, not long ago, Hollywood backed maverick filmmakers ready to shake up the medium and the culture at large.
Go See One Battle After Another Right Now
Paul Thomas Anderson’s One Battle After Another deserves all the hype it’s getting. Run, don’t walk, to this thrilling, hilarious, moving, and all too prescient portrait of American radicals on the run from right-wing authoritarians.
A Big Bold Beautiful Journey Bombs Out
A Big Bold Beautiful Journey pairs Colin Farrell with Margot Robbie in a colorful, life-affirming fantasy setting. How could it go so wrong?
RIP to Robert Redford, a Star Who Knew How to Play the Game
Robert Redford was a man of the Left until the end and a patron saint of independent cinema. He will be missed.
Orson Welles, South of the Border
After his post–Citizen Kane slump, Orson Welles teamed up with Universal for a big Hollywood comeback about corrupt police on the US-Mexico border. The executives balked at his vision — but today Touch of Evil is regarded as Welles’s final masterpiece.
Cowboys and Italians
In the 1960s, Italian filmmakers took the cowboy out of America. They gave the western a wild, blood-soaked makeover that revived the genre for global audiences and imbued it with new political relevance.
The Long Walk Is a Long Slog
Based on a forgotten Stephen King dystopian novel, The Long Walk wants to be an allegory for America’s grindset mania. But unlike other works in this genre, it fails to deliver a bang and instead ends with a whimper.
Caught Stealing Is a Wild and Violent Romp
Darren Aronofsky’s Caught Stealing sees the typically pretentious auteur shift gears toward fun and violence in late 1990s NYC. It’s a throwback to gritty 1970s filmmaking but set in the Giuliani era — the perfect setting for our downwardly mobile 2025.
Highest 2 Lowest Is a Cringeworthy Remake of a Classic
Spike Lee’s Highest 2 Lowest attempts to remake a beloved Akira Kurosawa film about the injustices of a class-stratified society all while sidestepping class. Even Denzel Washington can’t save this misfire.
Americana Falls Flat
Nothing in film is more exposing than the big attempt at meaning and poignance that just doesn’t come off. Sadly, Americana stands exposed.
Weapons Is a Generational Warfare Tale of Terror
Zach Cregger’s Weapons is high-concept horror about the disappearance of a classroom of schoolkids. Once again, an innovative horror film has turned our age of anxiety into box office gold.
The Naked Gun Hits the Target
While it lacks the manic energy of the original, The Naked Gun reboot delivers laughs thanks to the ingenious casting of Liam Neeson and Pamela Anderson.