The director of MLK/FBI talks about assembling a doc in a pandemic and what the ’60s can teach us about the movements of today.
Author: Andrea Thompson
Sam Raimi brought his camp sensibilities to Marvel’s friendly neighborhood Spider-Man, launching a bright new era for superhero filmmaking.
Guillermo del Toro’s criminally overlooked ode to Daphne du Maurier turns five, and it’s as potent as ever.
Park Chan-wook’s most recent film is an erotically charged but non-salacious look at women finding shelter & understanding in each other.
Joel Schumacher’s second go at the Batman franchise has its undeniable charms, but relied too much on tired stereotypes.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
Building off the political intrigue of their first MCU entry, the Russo brothers further blended reality and fantasy in their second smash hit.
Maïmouna Doucouré has a lot on her mind, but digs uncomfortably into oversexualization.
This animated reboot of TV’s spookiest family plays its kid-friendly scares a bit too safe.
A punk drummer loses his hearing in Darius Marder’s intense, layered personal drama, with an intense lead performance by Ahmed.
The acclaimed filmmaker stumbles in her slick, but inaccessible portrait of the iconic civil rights figure.
Fifteen years later, the spectacular failure of Catwoman still stings.
Quentin Tarantino’s half of the nostalgia throwback Grindhouse is as problematic as it is strangely empowering.
Ten years after its release, Sam Raimi’s return to Evil Dead-like horror remains a gory good time.
Miyazaki’s animated classic effortlessly blends magical realism with a relatable coming-of-age story about building community.
Five years on, Ava DuVernay’s gripping account of the march from Selma to Washington stresses that MLK’s fight is far from over today.
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