Filmmaker of the Month “My Own Private Idaho” searches for queer freedom Gus Van Sant's 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Reviews “Dads” isn’t the world’s greatest, but it’s a pleasant viewing By: Lisa Laman Bryce Dallas Howard’s directorial debut is a fluffy, familial piece that works best when it’s at its most grounded.
Joygasm! “Batman Forever” celebrates its 25th birthday Love it or hate it, Joel Schumacher's first take on the Caped Crusader was a neon-lit spectacle. Two of our writers debate its flaws & merits.
Reviews “Babyteeth”‘s maudlin dying teen love story has no bite By: Sarah Gorr The only sighs Shannon Murphy's tragic romantic drama elicits are of boredom.
Reviews Sorry folks, it won’t happen again: “Gremlins 2: The New Batch” at 30 By: Peter Sobczynski Three decades later, Joe Dante's gleefully anarchic monster-movie sequel remains an underappreciated cult classic.
Features The “Psycho” remake is an ironically bloodless exercise in technique Gus Van Sant's remake of the Alfred Hitchcock classic is a cut-and-paste exercise that plays like little more than a rehash of the original.
Reviews “Artemis Fowl” is slapdash, snoozy, and stuck in the early 2000s By: Matt Cipolla The adaptation of the first in Eoin Colfer's series is alarmingly messy for a project that's been in the works for almost two decades.
Reviews Spike Lee heads to Vietnam in the bracing, powerful “Da 5 Bloods” By: Oluwatayo Adewole Spike Lee explores the painful history of Blackness in American warfare with this lengthy, but gripping, Vietnam epic.
Filmmaker of the Month Reclaiming the queerness of “Even Cowgirls Get the Blues” Gus Van Sant's queer Western was received with scorn by critics when it first came out, but its celebration of the abject deserves reconsideration.
Reviews “What We Do in the Shadows” suddenly became the best sitcom on TV By: Gena Radcliffe The good-natured, cheeky comedy about vampire roommates concludes a hilarious, surprisingly touching at times second season.
Reviews “Warning: Do Not Play” is a limp “Ring” retread By: Clint Worthington Shudder's latest is a slick but familiar K-horror exercise too thin to land its big narrative twists.
Reviews “Crossing Swords” is a historically unfunny parody of medieval times By: Sean Price John Harvatine IV & Tom Root's attempt at recapturing the goofy joy of "Robot Chicken" is a disappointing mess.
Reviews “F Is for Family” again in its fourth season, but F is no longer for funny By: Tim Stevens The return of Netflix's adult animated sitcom brings with it a few moving moments and arcs, but it's too lacking in laughs.
Features Ambition is the eighth deadly sin in “To Die For” Gus Van Sant and Buck Henry's darkly funny satire about toxic self-obsession features a memorably villainous turn by Nicole Kidman.
Reviews “The King of Staten Island” tries to get Pete Davidson to grow up By: Clint Worthington Judd Apatow's latest is just as overlong and meandering as his usual fare, but boasts a surprising turn from Pete Davidson.
Features 25 years ago, Laura Linney shot lasers at evil gorillas in the apeshit “Congo” Far from good but definitely not boring, Frank Marshall's adaptation of Michael Crichton's novel is a sick day viewing that deserves its due.
Interviews Jeffrey McHale discusses his “Showgirls” documentary “You Don’t Nomi” Director Jeffrey McHale talks about his latest documentary and his experiences with Paul Verhoeven's cult classic Showgirls.
Features “Young Soul Rebels” is an essential piece of Black Queer Resistance Isaac Julien's British coming-of-age drama centers Black and Queer people in all their complexities.
Reviews You don’t know shit about “Showgirls” until you’ve seen “You Don’t Nomi” By: Theo Estes Jeffrey McHale explores the circuitous route the NC-17 flop took from Razzie shame to midnight fame.
Features Reexamining the anti-racist messaging of HBO’s “Whitewash” Lambasted at the time for not being direct enough about race, HBO's animated short takes on new significance in a post-BLM America.
Reviews Netflix dramedy “Can You Hear Me?” is worth listening to By: Megan Sunday A French-Canadian export weathers the challenges of girlhood with remarkable alacrity.