Reviews War is hell, and unfortunately, so is “The Outpost” By: Michael Snydel Rod Lurie's military thriller about the Battle of Kamdesh can't quite nail its critique about the horrors of war.
Reviews “Hanna” season 2 hits hard, but could pick its shots better By: Tim Stevens Finally out from under the shadow of its filmic inspiration, the Amazon series treads new ground in its second season.
Reviews “Metamorphosis” is possessed of little innovation By: Clint Worthington Shudder's latest offering from South Korea is a limp, wooden retread of every exorcism and possession movie you've ever seen.
Filmmaker of the Month July’s Filmmaker of the Month: Joel Schumacher In light of his passing, we look at the eclectic work of the man who loved camp, callousness, and everything in between.
Reviews Bless “Warrior Nun,” it’s an entertaining mess By: Sean Price Netflix's manga-based action show is light on sense but heavy on stylish fun.
Reviews “The Truth” is okay, but it won’t set you free By: Matt Cipolla Hirokazu Kore-eda's first film outside of his native Japan is a light, star-studded family affair of modest potential and diminishing returns.
Anniversaries “And don’t call me Shirley”: “Airplane!” at 40 Four decades later, Zucker, Abrahams, and Zucker's pitch-perfect disaster spoof is the template for the absurdist movie parody.
Reviews “Homemade” peeks in on arthouse filmmakers during lockdown By: Clint Worthington Netflix and producer Pablo Larraín offers a modest glimpse of quarantine life that can't escape the privilege of its authors.
Reviews “Unsolved Mysteries” returns to Netflix for an update By: Beau North The long-running true crime program gets a reboot to examine more murders in a slicker, but emptier, package.
Anniversaries “The Patriot” at 20: Yankee Doodle Dreary 20 years later, Roland Emmerich's Revolutionary War drama skewers U.S. history and Mel Gibson's persona without trying to—or realizing it.
Columns June DVD Releases: “Etruscan Smile,” “Watchmen”, “Portrait of a Lady on Fire” Powerful indies and revisionist superhero series dot some of June's most addictive home video offerings.
Anniversaries Houston, we have a problem: “Apollo 13” at 25 Ron Howard's gripping historical space thriller teaches us a lot about frustrated expectations in our current moment (and the resolve to overcome them).
Reviews Netflix revives “The Baby-Sitters Club” with iconic charm By: Shannon Campe The iconic young adult book series comes to vivid, relatable, family-friendly life.
Reviews “Welcome to Chechnya” documents a mass murder in modern times By: Theo Estes David France’s gut-wrenching documentary on the state-sanctioned purge of GLBT people in Chechnya is an excellent expose of the atrocities and portrait of the heroes in Russia.
Reviews Perry Mason “Chapter Two” Recap: We’ve got Dodson here! By: Megan Sunday HBO's gritty new gumshoe is already being eclipsed by his more interesting supporting players in episode two.
Columns “Capote” teaches us as much about Philip Seymour Hoffman as its subject Playing a creator who needs adoration, Philip Seymour Hoffman revels in the idiosyncrasies of famed author Truman Capote in Bennett Miller's biopic.
Features “Don’t Worry, He Won’t Get Far on Foot” welcomed Gus Van Sant to the indie-sphere After a handful of missteps, Gus Van Sant regained his footing with a solid—if fittingly flawed—indie.
Reviews Nothing can prepare you for the finale of “Dark” By: Beau North Germany's surprise hit time-bending soap opera returns & is more out there than ever before.
Features The Manic Pixie Dream Girl became a nightmare in the insufferably twee “Restless” Glib in concept and garish in emotions, Gus Van Sant's quirk-fest is a testament to just how grating the Manic Pixie Dream Girl trope can be.
Reviews “Doom Patrol” is back for a strange, homespun second season By: Tim Stevens The black-sheep show of the DC Universe returns for a second season even more confident in its quirks.
Anniversaries Revisiting the himbo fantasia of “Magic Mike XXL” Five years on, the sequel to the seminal dude-dancing movie remains a feminist celebration of desire.