This is a quicksilver drama about how a loving couple reacts as devastating bolts of lightning strike.
If you find David Cronenberg’s cinematic philosophy on bodily abjection/assimilation and the artistic process intellectually stimulating, then you’re in for an intoxicating return to form from the man whose name is synonymous with the body horror genre.
Winner of seven Cesars, this mordant portrait of the corrupt Parisian press mid 19th century, along with the commodification of just about everything, speaks loudly to the internet era.
This exhibition is impressive in drawing connections between material goods and labor, creating beauty out of unconventional forms.
Jurassic World: Dominion feels like Universal pureed every spec script for a Jurassic Park sequel ever sent to it by first-year film students. It’s narrative slurry. Like the pink slime used as filler in cheap burgers.
Daniel Raim’s Fiddler’s Journey to The Big Screen is a terrific documentary about the creation of the titular film.
The Canadian sports comedy Shoresy works as its own series, but it doesn’t match the sharp wit of its predecessor, Letterkenny.
A refreshing and witty hip-hop spin on Shakespeare’s Comedy of Errors.
You come away from this volume of short stories thinking that sure, Maggie Shipstead does write what she knows — it’s just that she may know everything.
This revival of 1776 tries to strike a culture wars balance, celebrating the country’s commitment to independence while also here and there skewering the idealized images and blatant hypocrisies of America’s patriarchal founders.