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Eileen Jones is a film critic at Jacobin, host of the Filmsuck podcast, and author of Filmsuck, USA.
The press is blaming the young and very online actor Rachel Zegler for Snow White’s dismal box office showing. But Zegler’s performance as the original Disney princess is the only bright spot in an otherwise cynical cash grab.
It’s been a rough year for movies so far — which makes the new horror hit The Monkey an enjoyable surprise.
In the 1930s, the French realist filmmakers found a way to speak to and fight against the rising authoritarianism in their country and the world.
Black Bag is being hailed by critics as highly sophisticated cinematic fare — rather than an unambitious rush job by a talented director eager to move on to his next, similarly unsatisfying project.
Apple’s dystopian workplace thriller Severance entered its second season as a genuine cultural phenomenon. With its brutal satire of the American corporate structure, it’s easy to see why.
Bong Joon-ho’s follow-up to Parasite is another darkly comic satire of our capitalist hellscape. But even with Robert Pattinson and sharp lefty themes, Mickey 17’s comedy is cringe and its pace glacial.
Walter Salles’s I’m Still Here is the true story of a left-wing political family in Brazil caught up in the dark days of the military dictatorship. It’s a riveting story with incredible character and period detail that deserves an Oscar this Sunday.
Legendary actor Gene Hackman, who was found dead this week at 95, brought a tough, working-class attitude to his mesmerizing performances.
Apple TV+’s The Gorge finds two attractive young snipers, Miles Teller and Anya Taylor-Joy, flirting across the abyss as they guard the gates of hell below. It’s a promising premise, but it never pays off.
Love Hurts is the Valentine’s Day–themed action movie you never asked for.
Despite Emilia Pérez’s mixed reviews and poor audience reactions, Hollywood handed the musical 13 Oscar nominations in the hopes of proving its progressive bona fides. Then old tweets from its star surfaced.
The Brutalist is a big and bold story of the immigrant experience and the postwar American dream. It’s confounding yet always interesting — a heartening thing in these cinematically tough times.
Mike Leigh’s Hard Truths is another triumph by that legendary dramatist of working-class British life. But films like Leigh’s are a rare breed these days.
Steven Soderbergh’s low-budget haunted house flick Presence puts the viewer in the point of view of the ghost. It’s a thrilling experiment — more like this, please.
Director David Lynch, who died this week at 78, brought an avant-garde sensibility into the American mainstream when we needed it most. There will never be another like him.
A CGI simian twist isn’t enough to turn Better Man into anything more than a by-the-numbers Robbie Williams biopic.
With a modest budget but plenty of thrills involving spooky 19th-century ships, frozen wastelands, and ghouls from Nordic folktales, The Damned proudly carries on our Gothic horror revival.
Despite Timothée Chalamet’s best efforts, A Complete Unknown is a cookie-cutter Bob Dylan biopic for a legendary artist who deserves something far more interesting.
Robert Eggers’s remake of the original 1922 vampire classic Nosferatu is a master class in atmospheric dread. You won’t even mind the occasionally clunky script.
Based on William S. Burroughs’s cult novel, Luca Guadagnino’s Queer finds an American expat looking for love among the men of 1950s Mexico. But a story about thwarted desires runs into problems when you cast a Hollywood hunk like Daniel Craig.