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
Soggy ‘AVATAR: THE WAY OF WATER’ A Gateway Drug for the Return of 3D
After thirteen years, countless production delays, and allegedly tectonic technological leaps forward, Avatar: The Way of Water is finally here. And it’s… fine. This long-awaited but not-that-anticipated sequel to the highest grossing movie of all time reintroduces audiences to the world of Pandora and the Na’vi people who occupy its lands and oceans. The second film in a planned total of five films, The Way of Water features some groundbreaking tech advances but for a three-plus hour movie, the plotting is notably sparse, the characters are weak, and it feels very much like a middle chapter. Read More
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.
‘THE INSPECTION’ An Understated Reckoning With Militant Homophobia
Don’t Ask, Don’t Tell
Back in the “Don’t Ask, Don’t Tell” era of the US military (1993-2011), any LGBTQA+ service member was mandated to keep their sexuality to themselves. This blatantly homophobic legislation of the Clinton administration prohibited otherwise qualified gay Americans from serving, unless they kept their sexual preference under lock and key. Elegance Bratton’s understated tell-all, The Inspection, tells the story of a young, gay black man who turns to the military with the intent of challenging the very premise that sexuality can be made secret and the fallout that comes with systemic oppression of “the other.” Read More
A Bit Naughty, A Bit Nice, ‘VIOLENT NIGHT’ Lives Up to Its Aggressive Holiday Title
There is perhaps no man in Hollywood who more perfectly exemplifies the idyllic dad bod than David Harbour. There’s something inimitable about his physique – not quite towering at 6’3” but still imposing; a man of considerable mass. From his turn in the mega-hit Netflix series Stranger Things to roles in Black Widow and as the titular figure in Neil Marshall’s ill-fated Hellboy reboot, Harbour leans into the physicality of his characters. It informs his intimating demeanor – or is just cheaply poked at for “fat jokes” (for shame Marvel, for shame.) Even when playing a gritty version of Oscar the Grouch on an SNL digital skit, Harbour imposes. Read More
Cannibals Need Companionship Too In Rangy ‘BONES AND ALL’
Sympathy for The Devil
Luca Guadagnino has made a career of sucking every last ounce of fat from the narrative bones of his projects. From his arthouse critical darling Call Me By Your Name, a sweeping pedophilic queer romance, to his celebrated – though gaudy and overwrought – remake of Suspiria, Guadagnino suckles on the teat of indulgence. This viewer has found Guadagnino’s style overtly lugubrious, feigning depth by overstaying his welcome, applying a Terrence Malick aesthetic template to otherwise intriguing conceptual pitches. This is no different in his latest adaptation, Bones and All, a cannibal love story that 100% should be my jam but wasn’t entirely. Read More
Weinstein Investigative Procedural ‘SHE SAID’ Puts the Whole System on Trial
Nasty Women Unite
An effective tribute to the institution of the free press, Maria Schrader’s She Said traces the roots of the #MeToo movement back to a high-stakes investigation into Miramax’s super-producer, the now-incarcerated Harvey Weinstein. Told through the lens of an old-school investigative procedural, Schrader’s film is an examination of individual injustices against specific women – both familiar high-profile actresses and lesser-known assistants who suffered Weinstein’s advances equally – and the structural hierarchy put in place to protect their violators. Read More
‘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
‘BLACK PANTHER: WAKANDA FOREVER’ Celebrates A Life Through the Largess of the Blockbuster
Long Live the King
Marvel Studios don’t really make movies so much as installments. Each new entry to their ever expanding stable of (increasingly disconnected) films feels like little more than a stepping stone towards more. The next sequel. The next phase. The next saga. There’s never a minute to rest. And even when there is a rare moment of quiet, that beat becomes just another opportunity for an incoming quip or a chance to tease the space with allusions to some eggy comic book lore (never forget Thor in the sauna). What a breathe of fresh air then Black Panther: Wakanda Forever is actually a real movie unto itself; an individual story about legacy and loss, complicated by real life grief and the guilt of carrying on. Read More
Wanna-Be Antihero ‘BLACK ADAM’ A Slave to Formula
Between A Rock and a Hard Place
Heroes don’t kill. Or at least that’s what Black Adam tells us, seemingly having forgotten that arguably this same universe’s most famous hero, Batman, himself was beating criminals to a bloody corpse not five years prior. That Black Adam is predicated on the will-he-won’t-he of Dwayne Johnson choosing good or evil should speak to the level of surprises in store with the DCEU’s latest superhero wank. It is, after all, The Rock we’re talking about here. We know who this man is. Or rather who he always present himself as. We’re hardwired at this point to know what kind of characters he (almost exclusively) plays and which he does not. He’s groomed beyond the point of being hairless. Family-friendly to the point where he’s never had a sexual interest in any movie that I can remember. The man is a walking, talking PR creation. Threateningly non-threatening. Only the clueless or culturally-apathetic will be left to wonder which way this is going to turn out. Spoiler alert, it’s just a matter of time before this ostensible antihero becomes a slave to the reluctant hero formula. Read More