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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

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‘TOP GUN: MAVERICK’ Offers Peak Blockbuster Thrills, Exceeding Original On Every Front

Cruise. Control. 

A legacy sequel that could have easily been nothing more than unnecessary nostalgia bait, Top Gun: Maverick is instead a tour de force blockbuster that reminds us of the joys of watching movies at the theater. After two years of wondering what the future of in-person cinema would look like in a post-Covid era, the high-flying feature from director Joseph Kosinski (Oblivion, Only the Brave) recalls the aspirational magic of the theatrical experience by looking back at what came before while also graciously paving the path forward. Read More

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‘THE NORTHMAN’, A Life of Death

Heavy Metal 895

Robert Eggers finds the language of a movie before anything else. Drawing up the screenplay for The Witch, Eggers studied journals, diaries, and anything from the early days of American settlers that he could get his hands on. Through their particularly dated parlance, he crafted a haunting vision of religious fervor gone amuck in a haunted New England wood. For his sophomore feature, The Lighthouse, Eggers looked to the vernacular of folklore, myths, and seamen, spinning spittle-infused soliloquies about mariner curses on the 1890s high seas. His salty dialogue matched perfectly with Willem Dafoe’s wide-eyed delivery. With The Northman, Eggers pairs with Icelandic poet Sjón to find the language of the 9th century Nordic people. And their language is violence. Read More

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SXSW ’22: Mind-Blowing ‘EVERYTHING EVERYWHERE ALL AT ONCE’ Is the Multiverse of Madness We Deserve

Everything Everywhere All At Once truly is the multiverse of madness that we deserve. Hilarious, utterly singular, and weirdly profound, Daniel Kwan and Daniel Scheiner (aka “The Daniels”) have cooked up something wholly original with their martial-arts multiversal science-fiction story about a Chinese family that owns a laundry mat. A genius-level explosion of creativity that blends Wuxia sci-fi with the vast endlessness that is literally the spectrum of onscreen possibility, there’s is a film that borders on the insane and is never anything less than wowing. To say I had a smile plastered on my face the entire time would be to overlook that fact that everyone around me did as well. Read More