Michael Marano
A brutally nasty Gotham revenge tale turns a minor Batman villain into the stuff of a major body-horror surprise.
Nathan Fielder’s “You Can See Everything” turns the Theranos saga into a revelatory, Philip K. Dickian inquiry into artifice, identity, and truth.
Our critics salute three memorable films — anti-fascist (Cabaret), anti-capitalist (The Ruling Class), and anti-war (Slaughterhouse-Five) — that turned fifty this year. Perfect viewing for the holidays.
Black Panther: Wakanda Forever is miraculous, in that it’s a Marvel movie that doesn’t come across as a link of sausage plopped wetly out of the Disney grinder.
There’s no real engagement with the ’80s, so this attempt at horror/comedy is politically and emotionally inert, profoundly unfunny and pathetically un-scary.
Matt Reeves’ The Batman features villains who lose their shit when faced with an African American politician whose campaign slogan is centered on “Change.”
More homages to 1971’s magnificent bursts of cinematic iconoclasm, from McCabe & Mrs. Miller to The Music Lovers and Walkabout.
One of the great strengths of this Dune is that it humanizes its protagonists. They are detailed human characters, which makes their assuming the mask of the White Savior all the more troubling.
I want to gird you, readers, for the insanity and beauty of Annette
Food Commentary: “The Real Food Show” — The Galloping Propagandist
Robert F. Kennedy Jr.’s cooking show serves up MAHA talking points without the wit, warmth, or human connection that made Julia Child, Graham Kerr, and LaDeva Davis irresistible.
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