The latest installment of the 28 Days Later franchise returns with more than zombies — it explores the strange new norms that follow collapse. It’s a vision of survival horror that focuses not just on the infected but on the ways humanity adapts.
The mystery of Agatha Christie’s enduring popularity is rooted in a nostalgia for the certainties of the Victorian class system.
Writer-director Celine Song’s Materialists follows a professional NYC matchmaker split between two charming suitors. It’s yet another attempt to update the Jane Austen formula, but without the poignancy and beauty of Song’s acclaimed Past Lives.
Brad Pitt’s F1 is the big, dumb racing movie America’s been waiting for. If you can stomach the sports movie clichés, you’ll probably have a good time.
Jurassic World Rebirth is another entry in the dinos-eating-humans megafranchise. It is exactly what you would expect. For me, that works.
Reactionary hysterics over James Gunn’s Superman reboot bring some delight to America’s otherwise plainest superhero.
For all of Eddington’s loud chaos, writer and director Ari Aster is expressing a fundamentally flat and stale vision of the world.
Jaws is rightly celebrated as a landmark, generation-defining hit. But it’s not sufficiently recognized as a great 1970s film, exemplifying that rocky decade’s political ire, acerbic social critique, and the lingering practices of realist cinema movements.
Will we ever get past the dominance of superhero movies in mainstream American cinema? Will they ever become any good?
Grading a century of liberal film presidents.
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.
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.
Nothing in film is more exposing than the big attempt at meaning and poignance that just doesn’t come off. Sadly, Americana stands exposed.
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.
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.
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.
The October Revolution unleashed cinematic brilliance that even decades of political censorship couldn’t extinguish.
Robert Redford was a man of the Left until the end and a patron saint of independent cinema. He will be missed.
A Big Bold Beautiful Journey pairs Colin Farrell with Margot Robbie in a colorful, life-affirming fantasy setting. How could it go so wrong?
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.