What makes Mission: Impossible - Fallout and Free Solo what they are is not death. It’s the spectatorship of death., watching those around a person come to terms with what we all know is out there.
The cinematic alchemy of Burning transforms an abstract theory of liminality into something that an audience can feel in the pulse of every scene and then, perhaps, in their own world.
This scream is a scream of defiance.
A mid-winter love affair feels decadent but also rather necessary, and Cold War rewards like a hot chocolate spiked with brandy: warming, bracing, to be savored.
On the one hand, everything we do may be meaningless. Oblivion may be the only truth. But on the other, maybe it’s exactly this ultimate despair that makes our all our everyday actions essential.
It's hard to know whether The Mule will be Clint Eastwood’s final film, either in front of or behind the camera—but it sure feels like it.
As much as The Miseducation of Cameron Post is about finding salvation within one’s self, it is also about finding hope and protection in the arms of a chosen family.
This is where humiliation lives: in the gap between the self we want to be and the self we actually are.
To watch the show’s four seasons is to watch broad types and tropes become subtler episode by episode, making us slowly question what, and who, the real object of the joke is.
Jinn’s exploration of Black Muslim girlhood stems from a long tradition of Black women exploring and constructing their own selves.
In both The Haunting of Hill House and Annihilation, landscapes are the loci of the characters’ malfunctions. Hill House and Area X, respectively, give their characters a place to focus their energy—and then use that energy, that sense of comfort, to undo them.
Disobedience is a film as fluent in its rendering of the burden of orthodoxy as it is well-versed in the holy liberation of letting go.