Belle didn’t quite make my heart sing, but it’s a nice change of pace to see a film that treats the internet as a place that can bring people together, not merely a cut-throat Thunder Dome of clashing egos and verbal slap fights.
Director Lana Wachowski seems less interested in telling a coherent story with fleshed out characters than she is in aggressively commenting on how we’re trapped in a cycle of reboots and remakes with no end in sight.
With Nightmare Alley, Guillermo del Toro once again proves to be an unparalleled cinematic visionary whose commitment to craftsmanship continues to amaze.
Our demanding critics choose the best films (along with some disappointments) of the year.
Death to Metal is the best sort of low-budget exploitation flick because its ideal balance of ridiculously excessive gore and self-aware humor makes up for its technical and budgetary shortcomings.
The Feast isn’t coherent enough to go toe to toe with modern folk horror heavyweights, but it’s an admirable entry in the canon.
This isn’t so much a movie as it is a micro-budget prank, and I must respect the hustle Dasha Nekrasova is pulling here even if it’s not in good taste.
Rather than directly interviewing her father about his life, Lynne decided to take a more peripheral approach in order to figure out what makes her dear old dad tick.
“If you really like something and want to make sure you have access to everything, you’ll never do better than having the disc.”
Why bother giving big-budget Hollywood projects to up-and-coming Black filmmakers if they’re just going to be neutered and cut to shit before release?