It's hard to watch Annihilation in a Chicago winter and not feel it on a molecular level.
Here is what happens when you let the darkness win.
Denis Villeneuve’s Dune is a self-fulfilling prophecy that undoes itself in the telling, an ouroboros regurgitating its own tail rather than eating it.
On watching Richard Linklater's Everybody Wants Some!!
Like all the best Michael Mann films, Ferrari moved me in a way I find impossible to describe. The tragedy of it all is so obvious: do not think that I weep for a car company’s founder so much as I do for the pain of ambition.
I spent much of Furiosa wondering why this film existed—less “who is this for?” and more “why is this here?” The answer that emerged over the course of viewing, considering, and then rewatching Fury Road was that of character, not of plot—Furiosa exists to show us how a drive for revenge can turn into a drive for redemption.
Alessandra Lacorazza's In the Summers succeeds in the quiet moments that cut through the simmering tensions of faded, dusty childhood dreams, uncertain adult futures, and shoddy attempts at open-hearted communications.
Perhaps this is the hidden genius of something like Michael Showalter's The Idea of You, situated neatly in the title of the film itself: nothing is ever as good as the concept of something is.
The Green Knight seeks not simply to retell or reimagine the poem’s story, but to interrogate or cross-examine the poem itself: to cast a shadow of postmodern skepticism over the original telling, and indeed all of Arthuriana.
Ethan Hunt has been engineered as Cruise’s go-to export, the slippage between character and actor deliberate; Hunt is the closest an audience gets to seeing Cruise act like a normal person.
Good Time is an itch, a nagging. I want to let it go, but I, too, have been prone to spiral.
Crafted as though from everyday observation and fantastic dream, About Endlessness marries the magical and mercurial, the simple and surreal.