Michael Marano
Director Travis Knight’s self-aware reboot turns Reagan-era toy marketing into a surprisingly sharp, character-driven comedy about power, nostalgia, and growing up.
Curry Barker’s debut turns dating, consent, and loneliness into a bleak and deeply felt horror tragedy.
Director James Cameron’s 3D concert film captures the awe, pressure, and near-religious devotion of Billie Eilish’s fanbase.
This year’s Independent Film Festival Boston kicks off this week, and it offers a grand selection of must-see indie films that set audiences free from the soulless product of corporate franchises.
Vicky Osterweil examines how Unca Walt’s empire imposes a politically dangerous, patriarchal form of homogenization across all its intellectual properties—from the Marvel Cinematic Universe to cartoons, to “Star Wars” films and shows, and to amusement park “experiences.”
AIDS made us strangers in our own lives. It took our world and made it foreign, putting us in the same socio-cultural no-man’s-land where “Alpha”‘s immigrant family is struggling.
I’m thinking that a one-person performance of “Hamlet” by a Brit transwoman might get under Trump’s necrotic skin.
“Project Hail Mary” is an antidote to dystopias, real and imagined.
As a dick-waving demonstration of fascist corporate and political power, “Melania” would make a great double bill with Pasolini’s “Salò, or the 120 Days of Sodom.”
The sitcom tropes encourage director Sam Raimi to unleash his utterly demented black humor sensibilities.
Design and Visual Arts: Affordable Housing, By Design