Interstellar: Love, Time, and the Ethics of Leaving
In Interstellar (2014), Cooper leaves his children in order to help save them. The apparent clarity of that sentence conceals
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The Uprising (2026) Review: A Rebellion Afraid of Itself
This review contains some spoilers of the film’s ending. I wanted to follow The Uprising into a dangerous, rebellious space.
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No Country for Old Men: Fate as an Excuse for Evil
Chigurh calls it fate. Carla Jean calls it his choice. No Country for Old Men asks whether chance can explain violence without excusing the person who commits it.
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Clara’s Heart (1988) Review: A Bizarre Sentimental Mess
Whoopi Goldberg and a young Neil Patrick Harris lead a grief drama whose wild tonal shifts, racial shortcuts, and manipulative sentimentality make it more fascinating as a curiosity than successful as a film.
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Memento Explained: Memory, Identity and the Lies We Tell Ourselves
Christopher Nolan’s Memento is not simply a puzzle about memory. Its reverse chronology reveals how Leonard turns self-deception into an external system, allowing one version of himself to manipulate the next.
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Shoplifters (2018) Review: A Family Made From Stolen Time
Hirokazu Kore-eda’s Shoplifters finds beauty, love, and lasting memories inside a makeshift family whose reckless and sometimes criminal life together was always destined to end.
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Black Box (2026) Review: Aliens on a Plane Can’t Escape the Formula
Black Box has a convincing airplane set and one energetic alien attack, but its stock passengers, awkward writing, inconsistent creature rules, and overreaching effects leave the high-concept premise grounded.
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Hysteria (2025) Review: Representation, Suspense, and Self-Interest
Hysteria is at its best when everyone has a defensible version of the truth and a selfish reason for insisting
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Shutter Island Ending Explained: Guilt, Self-Deception, and the Choice to Forget
This essay contains major spoilers for Shutter Island (2010). I remember the first time I saw Shutter Island vividly. My
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Opus (2025) Review: Celebrity Worship as Religion
Opus works best before it explains anything. For much of writer-director Mark Anthony Green’s feature debut, the film traps its
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Never Let Go (2024): When Abuse Becomes a Monster
There is a compelling idea at the center of Alexandre Aja’s Never Let Go (2024): abuse reproduces itself. Trauma doesn’t remain sealed
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Donnie Darko: Does Sacrifice Mean Anything Without Free Will?
Donnie Darko (2001) ends by killing the young man it has spent most of its running time keeping alive. A jet
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Blink Twice (2024), When Power Depends on Forgetting
This review contains major spoilers. Blink Twice (2024) is one of those films where I could feel the director enjoying how
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Review: Talk to Me (2022), When Grief Becomes an Addiction
Talk to Me (2022) understands that the most dangerous supernatural object isn’t necessarily one that forces itself on people. Sometimes it’s
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Faith, Control, and the Illusion of Choice in Heretic (2024)
This essay contains major spoilers. Scott Beck and Bryan Woods’ Heretic (2024) begins as a theological debate before gradually revealing that no
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Review: Bugonia (2025), A Disappointing Misadventure From Lanthimos
This review contains major spoilers. You’ve been warned! If you’d like to see the film for yourself, you can stream
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Review: The Substance (2024), Bubblegum Body Horror for the GLP-1 Era
Yes, I realize I’m late to the party. For quite a while, I actively declined to watch The Substance (2024). The
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