The Death of Robin Hood (2026) Review: Brutal but Strangely Dull
Spoilers for the ending of The Death of Robin Hood and The Uprising follow. I was ready for The Death
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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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15 Best Philosophical Films of All Time
The best philosophical films do not just show us arguments we could find elsewhere. Their images, performances, omissions, and structure
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The Ugly Stepsister (2025) Review: Beauty Has a Body Count
There’s a particular cruelty in calling someone an ugly stepsister by default. We already know whom to love, whom to
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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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The End of Oak Street (2026) Review: A Corny Dinosaur Disaster
A suburban street full of dinosaurs should be easy entertainment. The End of Oak Street buries that premise beneath failed comedy, cheap-looking effects, bad logic, and painfully sentimental family drama.
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Resident Evil (2026) Review: When the Player Gets Stuck in the Game
Zach Cregger’s Resident Evil puts an ordinary courier through the games’ most frightening—and frustrating—survival rules. It’s the best adaptation yet, though the final act goes too big.
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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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It’s Pat (1994) Review: Androgyny and the Need to Categorize
A terrible but occasionally funny SNL film, It’s Pat reveals how gender anxiety and the need to categorize can turn curiosity into obsession.
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Sweetheart (2019) Review: A Lean, Mean Island Monster
Sweetheart (2019) gets a lot of mileage out of a simple fear: the ocean is scary as hell. J. D.
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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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Oddity (2024) Review: Grief as a Spooky Weapon
There is something deeply unpleasant about watching an inanimate “object” suddenly appearing in a different spot. Oddity works with this kind
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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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