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‘THE CREATOR’ Updates Humanity With Technically Brilliant Original Sci-Fi

Good science fiction straddles the line between grappling with contemporary anxieties and reflecting on the essence of humanity, often through non-human characters. Movies such as Blade Runner, Ex Machina, Her, and even Terminator 2 explore the notion that our innate humanity transcends mere flesh and blood. Any truly meaningful exploration of humanity tends to exceed the boundaries of pure science and biology, delving into the metaphysical realms of the soul. Qualities like empathy, love, or even the ability to crack a good joke are as fundamentally human as opposable thumbs or the capacity to biologically reproduce. In one pivotal scene in Gareth Edwards’ stark and striking science fiction film The Creator, the best original sci-fi film in years, a group of American soldiers descend upon a village to extract the location of a concealed weapon. One of the soldier threatens to execute the dog of a trembling little girl unless she gives up information. It’s a stark reminder that humanity often eludes those who are, ostensibly, human themselves. Read More

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Take a Delightful Sojourn Into Thespian Hilarity at ‘THEATER CAMP’ 

In the vein of the best Christopher Guest mockumentaries, Theater Camp delivers a laugh-a-minute exploration of the inner workings of a fictitious child actor’s summer getaway, firmly rooted in reality. Destined to become a cult comedy classic, especially amongst the performance-inclined, this feature-length adaptation of the short film of the same name is crafted with a deep understanding of the theatrical world. Co-directed by Molly Gordon and Nick Lieberman, both with theatrical backgrounds, the film expertly celebrates and satirizes the peculiarities of the theater world, infusing the humor with a delightful mix of specificity and personal touches. Read More

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Pastel-Plastered ‘BARBIE’ A Hilarious and Incisive Indictment of Modernity, Gender Roles

When Mattel recently announced that they would be launching their own extended cinematic universe (the Mattel Cinematic Universe, or MCU2), the internet groaned in exhausted unison. After all, what could be more unappealing in our era of modern moviemaking than yet another corporate attempt to coalesce blatant brand synergy and Hollywood’s necrotic trend of interconnectiveness, all to satisfy a company’s stakeholders and their own bottom line? From my very anecdotal research, this is simply not a thing that the movie-going public is clambering for.  No one is demanding a theatrical showcase where Hot Wheels, Sock ‘Em Robots, and Barbie team up in some kind of Avengers-style plot to take down the dastardly Hungry Hungry Hippos. And yet, Mattel is currently in some stage of development on a vast number of feature films based on just that with Hot Wheels, Magic 8 Ball, He-Man, Rock ‘Em Sock ‘Em Robots, Polly Pocket, View-Master, American Girl, and the card game Uno all in some form of gestational pre-production. Theirs is a gloomy future that presupposes that Hollywood hits come purely from brand recognition – a future that forecasts the further sidelining of anything truly original, championing nostalgia and brand dominance over the creation of the new.  Read More

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‘SPIDER-MAN: ACROSS THE SPIDER-VERSE’ Weaves Vibrant Web of Creativity 

Five years after swinging the doors off the whole superhero multiverse thing, the highly anticipated Spider-Man: Across the Spider-Verse springs into action to deliver an arachnid-sized punch of fresh, inventive, and emotionally compelling spider-story that’s a true eye-popping wonder. Directed with electrifying visual panache by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, our reunion with Miles Morales, Gwen Stacey, and a host of countless other spider-variants across an ever-expanding multiverse elevates the stakes in this second installment, ambitiously pushing the creative and narrative boundaries along the way. Read More

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Existential Dark Comedy ‘BEAU IS AFRAID’ is Unhinged, Overlong, Hysterical 

Reeling from the death of his iconoclast mother, an emotionally stunted, mentally ill man must traverse to her funeral in Ari Aster’s oft-indescribable dark comedy, Beau is Afraid. Aster frames the journey as if he were Homer himself, making for a melodramatic and depraved comedy of errors turned familial nightmare, stuffed to the brink of bursting with pure orchestrated chaos. Shocking, subversive, and very often hilariously funny, the genre-defying A24 feature stars Joaquin Phoenix as the titular Beau, a man for whom the pressures of the world are quite overwhelming. The film plays like What About Bob as remade by the director of Hereditary, but as an Oedipal fever dream. It’s a lot thematically. It’s a lot structurally. It’s a lot from a performance-perspective. It’s just a lot of movie. And most of it is pretty brilliant. Read More

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The Top Ten Best TV Shows of 2022

2022 might not have been a banner year for movies but boy did it rip on the small screen. One of the best years that I can recall in terms of what was offered on television, whittling my favorites down to just a list of ten was an extremely difficult task. Choosing just ten meant I had to jettison shows I genuinely adored like Apple TV+’s Irish dark comedy Bad Sisters, AMC’s seductive Interview with the Vampire retelling, Netflix’s epic fourth season of Stranger Things, and the second season of HBO’s hysterical Righteous Gemstones. In a lesser year, all likely would have earned a slot here.  Read More

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Brendan Fraser Offers the Performance of His Career in Devastating ‘THE WHALE’

Darren Aronofsky makes movies about people killing themselves. Sometimes unwittingly (Requiem for a Dream). Sometimes intentionally (The Wrestler). Sometimes in a fit of obsession (Black Swan). Sometimes as an act of salvation (π). In his heartbreaking weepy, The Whale, a show-stopping Brendan Fraser plays a morbidly obese man actively killing himself with calories. Aronofsky is no stranger to the slo-mo suicide drama and The Whale counts amongst his most heart-wrenching tragedies yet. Be prepared to ugly cry. 

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‘THE MENU’ Deliciously Satirizes the Cult of Kitchen

A Taste of Honey

Margot Mills (Anya Taylor-Joy) is not supposed to be dining out at Hawthorne. After all, a table at Hawthorne is amongst the most difficult reservations to land on the planet, held solely for the affluent, celebrities, and those with their own gravitational sphere of influence. From the moment she arrives at the esteemed remote island restaurant, Margot is out of place against the other diners. Esteemed critics, minor celebrities, finance bros – the usual suspects have gathered to taste the creations of Chef Slowik (Ralph Fiennes). And then there’s Margot. The worst part? She doesn’t even really like the food. Read More

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Mia Goth Has the ‘X’-Factor in Devilish Prequel ‘PEARL’

X Marks The Spot

Ladies and gentlemen, Mia Goth! In Ti West’s remarkably entertaining prequel to X (his other 2022 slasher), Goth plays a woman desperate to be a star but doomed never to be one. The irony is that Pearl should be the movie that propels Goth herself to proper stardom. She’s simply sensational. Featuring as the titular character, Goth steps back into the shoes of a sex-starved, corn-fed, farm-raised vixen with a predilection for murder by pitchfork. This time, West explores her youth, focusing on how her environs and lovelorn family dynamic transform her into the villain we later meet in X. Read More

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‘BARBARIAN’ Is Part ‘DON’T BREATHE’, Part ‘WRONG TURN’ and it Rules

Something Wicked This Way Comes

Between 2016’s Don’t Breathe and Barbarian, there’s an emergent sub-genre of horror: Detroit Dystopia. Both films put the urban wreckage of the city’s broken ecosystem under the spotlight to set the scene for unspeakable horrors. Barbarian, if not directly inspired by Fede Alvarez’s 2016 horror hit, shares a lot of the same DNA and influences. Both take place in Detroit’s most rundown neighborhoods – an almost post-civilization shadowland marked by abandoned, graffiti-stained houses, a lack of discernible social services, and the roving few who’ve never left. In the ruin of a once flourishing industrial neighborhood lurks a gaping hole. And in that absence sadism festers. Their tunnels run deep. Read More