John Hughes meets David Lynch in an uneven black comedy/thriller/musical about yet another small town full of dark secrets.
Category Archive: Features
Columns, thinkpieces, and opinions on every inch of pop culture.
Keiichi Hara’s candy-colored fairy tale is certainly a feast for the eyes, even if its story is skin deep.
The no budget fake documentary that ushered in the “found footage” craze still holds up, like it or not.
Even with segments by 90s indie luminaries like Robert Rodriguez, Allison Anders and Quentin Tarantino, Four Rooms is too herky-jerk to work.
2019 is a year chock-full of James Cameron film anniversaries, and we start with one of his more flawed, but deconstructionist action flicks.
Marvel’s web-crawler predictably holds the box office, while The Farewell puts up a respectable showing for an A24 dramedy.
An early Quentin Tarantino screenplay is turned into an over the top look at America’s obsession with crime & criminals.
Robert Rodriguez and Quentin Tarantino’s grindhouse vampire thriller is a fascinating but flawed glimpse into their collaboration.
Streaming services grant unprecedented access to films normally outside the reach of most moviegoers. But can the technical experience of watching them do them a disservice?
In Ari Aster’s latest, sharing each other’s emotions is scarier than being alone.
Quentin Tarantino’s classic 1994 new-cool drama set the stage for a new era of independent film, and saw the end of his own sense of mercy.
One of the few Tarantino scripts not directed by the man himself, Tony Scott’s “True Romance” is a tragically too-cool crime thriller that doesn’t age well.
From sex demons to labyrinthine suburbs to blood-soaked dads, Fantasia Fest 2019 has a huge crop of genre film offerings we’re looking forward to.
The box office performance of Spider-Man: Far From Home helps drag a slower movie summer out of its funk, while Toy Story 4 keeps chugging along.
Quentin Tarantino’s breakout debut feature is a bloody distillation of his best and worst instincts.
With his ninth film coming out this month, we look back on the indie titan and his deeply metatextual approach to cinema.
The Wachowskis took their high-concept empathy to TV with a gloriously ambitious Netflix show that was gone far too soon.
The Wachowskis’ last theatrical film to date — a space opera with Channing Tatum as a roller-skating wolf man — is one of their most ambitiously corny efforts yet.
