15 Best Movies To Watch After Terminator 2: Judgment Day (1991)

I saw Gladiator II two days after election day. By then, the results had been certified, sinking the country’s liberals and leftists of the country into a pit of mourning, terror, and rage. As I vacillated between feeling like a live wire and nothing at all, watching a movie was both the only and the last thing I wanted to do. I needed to watch something. Simultaneously, I couldn’t shake the feeling that if I watched anything, I might spontaneously combust, transforming into a Substance-like shower of viscera and sadness. But Ridley Scott’s historical epic would wait for no man. After about 15 or 20 minutes, I suddenly felt certain that actually? This is the only film I could have handled at that moment. In fact, maybe it’s the perfect film to counteract the feeling of dread sitting on all of our chests like a two-tonne rhino. Continue Reading →

Life and death in Caddo Lake are hard. Paris (Dylan O’Brien) lost his mom to a car accident that nearly took his life as well. While he never says it outright, his survivor’s guilt is written all over his face and in his body language. Paris is trying to make a go of reconnecting with those he’s stayed away from for years, but it’s a struggle. Former love (Diana Hopper) has the best luck with him but it is still halting and awkward. The alienation grows when he finds a necklace like his mom used to wear. To make matters worse, he discovered it in an area of the swampland where things seemingly go haywire. The world seems to go mute, wolves--not indigenous to the area--appear, and electronics cease to work. Elsewhere on Caddo Lake, Ellie (Eliza Scanlen) has her own parental problems. Her father went missing when she was very young, a tragedy that has driven a wedge between her mom (Lauren Ambrose) and her deeply empathetic stepfather, Daniel (Eric Lange). She can’t stop reminding either of them how he—and the rest of his family—aren’t her family, even as they clearly want to embrace her. The only exception to her ire is her younger sister, Anna (Caroline Falk). Unfortunately, one night, Anna goes missing, too, presumably after she snuck off to find Ellie and her friends. She may have wandered into the same bit of swamp that Paris found so otherworldly. Caddo Lake has a complex science-fiction engine driving it. However, writers-directors Logan George & Celine Held don’t seem especially interested in digging deep into it. Instead, they leave many questions about it only tangentially touched upon. The queries are left open-ended in a way that feels right for the story, not a dodge or a disappointment. Continue Reading →

Fight Club is still one of the peak cinematic explorations of toxic masculinity. Now, we may finally have a true female equivalent in The Substance. Elisabeth Sparkle (Demi Moore) is a former Oscar darling whose career has stalled out, stranding her in a Jane Fonda-esque workout show. When she overhears her producer demanding they replace her with someone younger and hotter, she’s desperate to do whatever it takes to stay in the limelight. Enter The Substance. She’s handed a mysterious ad that promises to create a better version of herself — literally. In this case, her alter ego is the sexy, youthful Sue (Margaret Qualley). It’s not long before Sue and Elisabeth begin fighting to the death for the right to exist. Continue Reading →

In the future of Uglies, adapted from the YA series by Scott Westerfeld, humanity has survived death by its own hands. First, a vaguely defined but elite corps of scientists developed a new, apparently infinitely renewable energy source. That cured us of our dependence on fossil fuels. (Sidenote: it’s hilarious that the only way people can quit fossil fuels is by developing something else to consume instead of, you know, wind, water, or solar power.) However, humanity’s natural tendency towards tribalism continued to raise its ugly head. The solution there? Get rid of the ugly! A procedure, done on sixteen-year-olds, eliminates all imperfections, physical and psychological. That means, on the eve of your 16th birthday, maybe you are a kid with an overbite and a burgeoning anxiety disorder. After your birthday day “surgery” though? Your jaws align perfectly and your heart rate stops spiking out of nowhere. Yes, even when you think about that time you said something dumb at that party. Oh, and your eyes are gold now, too. For funsies. One sure sign Laverne Cox is evil? White after Labor Day. That's just madness. (Brian Douglas/Netflix) On first blush, Uglies is a hodgepodge of dystopian fiction, especially of teen variety, remixed and reheated in a new mediocre shell. Pick your favorites of the genre and chances are this film will include at least one moment of “homage” to it. Enjoy a restriction on literature like found in Fahrenheit 451 or 2002’s “better than the Matrix” (real ones will get it) Equilibrium but want it to only ever so slightly mentioned? Uglies has you. Garish displays of beauty as a sign of elitism as in the Hunger Games? Check! A sort of return to the land, noble savage theme ala Brave New World? Got it. A have-and-have-nots society based on perceived genetic superiority akin to Gattaca? Of course. Better living through the elimination of pesky emotions? Well, you get the idea. Uglies has them all in the least thoughtful, most set-dressing way. Continue Reading →

Amrit Rathod (Lakshya) is a commando. He is a peerless soldier among peers. He's as ruthless as he is skilled, and when he fights, he wins. It might be a slugfest, and he cannot walk off a hit like it's nothing, but if someone fights him, he's the one who walks away from the fight. He's also a good friend to his fellow commando Viresh (Abhishek Chauhan) and a loving partner to his girlfriend Tulika Singh (Tanya Maniktala. When Tulika's wealthy father arranges her engagement to someone she doesn't love, Amrit and Viresh catch the Singhs' train. The plan is simple—link up with Tulika and elope. The trick is that their train has been marked for robbery by an extended family of bandits—fathers, siblings, and cousins. Fani (Raghav Juyal) may not be the patriarch, the strongest, or even the most respected among the bandit crew. But he is ruthless, sadistic, and determined to come out on top. No one will stop him from pulling the robbery off, and he will not tolerate disrespect. When the bandits make their first play, Amrit wants to stop them. After Fani makes his play, a vicious move that introduces the title card 45 minutes in, Amrit wants them dead. And he has the ability and the will to make that happen. Writer/director Nikhil Nagesh Bhat's Kill is a decent entry in the growing hyper-violent 21st-century action cinema library. Like Gareth Evans' The Raid, Kill uses the geography of its setting to its choreography's advantage. Like John Hyams' Universal Soldier: Day of Reckoning, Kill pays attention to the immediate psychological effects of extreme violence. Like Timo Tjahjanto's The Night Comes for Us, Kill builds some of its strongest action beats on improvised weaponry and unique flavors of grody that can result from its creative application. It doesn't reach their level, but it's a worthy swing with strong narrative escalation and an enjoyably despicable turn from Juyal. Continue Reading →

Big old monster brawls are a delight. They're one of the great pleasures of the Ultra series, the Eiji Tsuburaya-created science fiction series that's brought joy to folks worldwide for 58 years and counting. While the series kicked off with the monster mystery series Ultra Q in 1966, it was Ultraman (launched in July of that year, shortly after Ultra Q wrapped), the tale of a benevolent alien superhero who lived among humanity and fought aliens, giants, and giant aliens alongside a human Science Team (in capital letters). In the decades since Ultraman broke out, the series has proven flexible. It's first and foremost a kids' superhero show, but it's made space for experimentation and idiosyncrasy. See, for example, the great Shinji Higuchi and Hideaki Anno's 2022 film Shin Ultraman, a loving tribute to and riff on the original 1966 series that embraces kaiju wrestling and contemplation of humanity's place in the cosmos equally. Or, heck, head back to 1966 and dig into the episodes of the original series directed by acclaimed filmmaker Akio Jissoji. At its best, the new animated feature Ultraman Rising proves the strength of the Ultra series' core ideas—right good monster mashing mixed with a journey into humanity—with loveliness and style. Unfortunately, it's not at its best often enough to clinch the game. Rising is a messy, disjointed picture. Continue Reading →

My favorite moments in Rebel Moon: Part Two - The Scargiver come during quick breaths before a plunge. In the first, warriors Tarak (Staz Nair) and Milius (Elise Duffy) come to terms with their likely imminent deaths at the hands of a smoke-spewing tank. Having spent years of his life consumed by survivor's guilt, Tarak thought having a cause to die for would be enough. It isn't. He wants to live, but he probably won't. The next best thing is to die fighting alongside a peer like Milius. In the second, Kora (Sofia Boutella) is in the midst of blasting her way through the fearsome dreadnought King's Gaze. After slaying a warrior wielding a high-tech superheated sword, she takes a moment to catch her breath. With some pilfered cloth, she wraps the blade's hilt so she can use it without burning herself. It's a moment of improvisation, providing Boutella a chance to deliver a quieter piece of physical acting that stands in contrast to brawling with a corridor of goons or swordfighting Ed Skrein's Admiral Noble. Continue Reading →

Denis Villeneuve finishes his epic two-part adaptation of Frank Herbert's novel with sprawling scope and thorny politics. It's really a miracle that the first of Denis Villeneuve's Dune films penetrated the public consciousness as well as it did. It was released amid a worldwide pandemic; it was an IMAX-ready blockbuster that was simultaneously dropped onto people's streaming subscriptions same-day; it's based on a dense, impenetrable sci-fi novel Villeneuve patiently chose not to wholly adapt in one film. The results, blessedly, were commercial and critical success and a host of technical Oscars the following year. That success was enough to secure Dune: Part Two, a chance for Villeneuve to complete his vision of Frank Herbert's seminal work of political science fiction. Where Part One worldbuilds, Part Two barrels down the road of its inevitable conclusion in satisfying style, even as it makes some noted changes from the novel or any previous adaptations -- some for the better, some for the worse. Continue Reading →

When I was around thirteen, two classmates, Christina and Taylor (their real names, it’s not like they’re going to read this), played a prank on me that resulted in my eating dog food. In retrospect, it could have been worse: nobody else saw it happen, and for whatever reason they kept it to themselves. But when I think about my teenage years (and I try not to much at this point in my life, other than at a superficial pop culture level), my mind often goes to that moment. Continue Reading →

An overview of the diverse features selected to screen at this year's Austin Film Festival. This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the work being covered here wouldn't exist. A cycle rickshaw, adorned with a Texas flag billowing in the wind, whizzes by while blaring a Luke Combs tune. Massive murals of Willie Nelson and Post Malone gaze down on passersby like the eyes of T.J. Eckleburg. A man in a Blue Lives Matter shirt waltzes past a "PROTECT TRANS KIDS" sign planted on the lawn of a Catholic Church. Welcome to Austin, Texas, a Southern hotspot that, for the final weekend of October 2023, wasn't just home to these and other oddball sights, but also the backdrop for the 30th edition of the Austin Film Festival. Though not as world-famous as the Toronto International Film Festival or Cannes, Austin's annual ode to cinema is still a much-ballyhooed event attended by freelance journalists, aspiring screenwriters, iconic filmmakers, and everyone in between. Continue Reading →

The low-budget confines of Blumhouse movies mean that any idea can become a movie, including bold original visions like Whiplash or Get Out. Unfortunately, it also means a lot of subpar stuff can easily get the green light. The latest example is the new Amazon/Blumhouse collaboration, Totally Killer. Hailing from director Nahnatchka Khan, Totally Killer dares to ask a question no reasonable soul was pondering. “What if Happy Death Day and Hot Tub Time Machine had a tedious baby?” Buckle up, horror devotees. Here comes yet another dose of 1980s nostalgia and some frighteningly lousy editing. Continue Reading →

At the risk of making a "getting a lot of Sorcerer vibes from this" guy out of myself, The Hunted—William Friedkin's 2003 old-master-hunts-rogue-student thriller really does make for a fascinating counterpart to his earlier men-on-a-desperate-mission masterwork. Both delve into the lives of damaged, forlorn, isolated men on perilous quests for deliverance. And both of those quests lead deep into madness. Both pointedly contrast man-made, flame-choked hellscapes (Sorcerer's exploding oil well, The Hunted's secret mission amidst the Kosovo War) with the vast, amoral green of the deep forest (Columbia and Oregon, respectively). Both turn on setpieces that thrill while maintaining a grounded (if not necessarily "realistic") feel and weave surreality in with care. Continue Reading →

In many ways, M3GAN is as much about its marketing as it is about the movie being marketed. That's hardly a revelatory statement, especially when it comes to horror films: Studios and producers have breathlessly promised thrills and chills with ever more outrageous gimmicks ever since the days of William Castle offering life insurance policies for audiences who "die of fright." With Blumhouse's M3GAN, the secret lies in its titular robo-tot, a cutesy android with snatched wig, Union Jack dickie bow, and murderous dance moves primed for TikTok virality, all of which have been over the film's marketing for months now. So it's a relief to learn that M3GAN has bite to go with its meme-ready bark, a horror-comedy as much about the ways we use technology to fulfill every human need as it is a sassy robot tween popping and locking with a paper cutter in its hand. Continue Reading →

Netflix has really made a play in recent years to corner the high-concept action movie market: Extraction, The Old Guard, 6 Underground, Project Power et al. feel like they fill the algorithm's innate need to fill the John Wick-sized hole in the moviegoing public's diet. It's that sweet spot that Outside the Wire is unabashedly trying to fill: sci-fi concepts right out of Black Mirror blended with brutal, highly-choreographed fight sequences. The trouble is, despite (or, more precisely, because of) its military sci-fi premise, Mikael Håfström's (1408) latest crumbles under its own sociopolitical weight. Continue Reading →

Back in mid-March, Simon Boyes called Adam Mason about an idea for a pandemic thriller. The two writing partners quickly sketched out a plot outline, it began to pick up traction, and it was only a matter of days before Michael Bay came on to the project as a producer. The name would be Songbird. It’d also begin filming that July with Mason directing and come out in December, less than nine months after its inception. All of this said, it’s hard to dissect what’s worse: the fact that people exploited a global tragedy so quickly, or the final result. Continue Reading →