Goon is the rare sports film that loves it subject and is smart enough not to romanticize it.
More than any other Alien movie, David Fincher's Alien 3 is aware of Ripley’s existence as a woman, and the unique and universal horrors that come with the territory of inhabiting a woman’s body.
Body Double is a dizzyingly perverse, pastel-hued celebration of cinematic pastiche and formalist trickery.
Though we continue to revere stories like The Wizard of Oz as folklore, 2018 demands that we revisit the canon—our cultural body of work—while reckoning with the entertainment industry’s brutal legacy of abuse.
Johnny Knoxville’s presence as a star has a lot to do with the desire of young men to test their bodies—not in rituals that prove their manhood, but in experiments that question its elasticity, its dexterity, its fluidity.
On slapstick, body horror, and Weekend at Bernie’s II.
In George Washington, David Gordon Green uses time the way a painter might use negative space—he shapes our understanding of what we’re seeing, not through a series of plot points, but by giving us moments that, taken alone, seem random or incidental.
By looking at illness for what it is in Todd Haynes' Safe, we begin to uncover the true terror of this masterpiece.
Through a combination of live-action and stop-motion, Jan Švankmajer’s Alice leans into the unsettling nature of assemblage.
A new crop of female auteurs is challenging The Male Gaze.
As film is primarily a visual artform, a film series presents us with the most in-depth way to view and examine the aging process in art.