30 Best Movies To Watch After War of the Worlds (2005) (Page 2)

The Last Voyage of the Demeter feels like a movie from a different era. To a point, it is—writer Bragi Schut first drafted his adaptation of the 'Log of the "Demeter"' sequence in Bram Stoker's Dracula in the early 2000s. It's a capital letters Hollywood Creature Feature—a grimmer straight horror cousin to 2004's action/horror hybrid Van Helsing. At its best, it's an admirably gnarly monster flick—bolstered by sturdy craft from director André Øvredal and consistently good performances from a game ensemble. At its worst, it loses confidence and resorts to bumbling attempts to guide its audience by the hand—most notably in its prologue and epilogue. Continue Reading →

When The Purge film series began, it attempted to create a heightened, ultraviolent version of the future that was both laughably over-the-top and an accurate reflection of the current political climes. They created a dystopia that was vaguely familiar but could still leave you rolling your eyes at its implausibility. For those unfamiliar with the franchise, the concept is as follows: On one night each year, the US government legalizes all crime, including murder, in the hopes of providing an outlet for Americans’ rage. It ultimately leads to an overall decrease in crime and an (ostensibly) utopian society. Continue Reading →

What did your boogeyman look like? Continue Reading →

A look back at the use of chimpanzees as clowns & sidekicks for humans, & how it relates to a strange & haunting subplot of Jordan Peele's hit sci-fi horror. Note: this article contains spoilers for Nope. Please read Jon Negroni’s spoiler-free review here. If you haven’t seen Nope yet, you might be a little puzzled by references to a character named Gordy, especially once you learn that Gordy is a chimpanzee. It’s understandable: there’s not so much of a glimpse of a chimpanzee in any of the promotional material for Nope, and nothing that happens in its trailers seems to suggest that a chimpanzee will play any part in it. Continue Reading →

In the last 15 years since 2008's Taken, Liam Neeson has become an action hero for men over 50. Now 69 years young, Neeson continues to star in these action-focused B-movies, each riffing on the previous one. Steady paychecks seem to be cashed by the Irish actor. Filmmakers line up to direct fights in trains, planes, cars, parking lots, hospitals--anywhere there might be an ounce of criminal activity.   Continue Reading →

Around the halfway point of Roland Emmerich’s new sci-fi disaster flick Moonfall, our protagonists find themselves in a hell of a predicament. It seems like the world is about to end, the most important people have given up on doing anything about it, and the only ones that have a chance of saving the day are the underestimated, the uninspiring, and the over-the-hill. Despite this, they manage to dust off an abandoned space shuttle, squeeze themselves into some old astronaut suits, and blast away to prevent disaster, and maybe, just maybe, become heroes in the process.  Continue Reading →

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. I’ll admit it. I believe in sea monsters. We know more about space than we do about the Earth’s watery, cavernous depths. I don't know what's out there! But what I do know is that the monsters in my mind, like all-natural monsters throughout history, embody all that is awesome and terrifying about Nature. Deep Rising (1998) and The Strangeness (1985), two films recently released on home video by Kino Lorber, render such monsters on screen. They play on our deepest fears about the unknown natural world as well as our precarious place within it. Though opposites in terms of budget and financing, both of these pictures touch on similar themes and deliver similar results. Tangled together, these two tentacular tales teach us both about movie making and the deep anxieties lurking beneath the surface of our culture. Continue Reading →

One of the best pieces of recent film writing (other than what can be found at The Spool, of course) is R.S. Benedict’s “Everybody is Beautiful and No One is Horny,” about how superhero movies feature actors ripped and sculpted to within an inch of their lives, and never doing anything else with those amazing bodies except punching villains. There’s been a curious desexualizing of film in general over the past few years, with most of the graphic stuff reserved for whatever sad white people miniseries HBO Max happens to be playing at the moment. Even the chemistry between actors is muted, platonic, as if filmmakers are going out of their way not to offend anyone. Continue Reading →