Blade Runner serves our vision of an inevitable dystopian future because we live in a “stuck future”, refusing to heed cyberpunk’s warning.
Takashi Yamasaki’s Godzilla Minus One returns to the roots of the origin story with essential drama that gives weight to the monstrous spectacle.
You can read David Fincher’s The Killer as a story about a murderer, or you can see it as the satire of our pathetic little existence that it really is.
Netflix represents an opportunity to internationalize and escape the pressures of a volatile domestic market in Turkish television. It has forced Turkish producers to tell Turkish stories in a globally compelling way.
Silent westerns star Tom Mix – with his ten-gallon hat and his horse, Tony the Wonder – shows off stunt work in Sky High and spoofs the genre in The Big Diamond Robbery.
The action in Mission Impossible: Dread Reckoning, Part One merely updates director John Glen’s James Bond set pieces from a more primitive time in cinema: the 1980s.
Indiana Jones and the Dial of Destiny should have taken a thoughtful approach to Harrison Ford’s aged hero, as James Mangold did in the superior Logan.
The story that takes up most of The Flash’s running time is about something that never happened, and worse, the film skips over the hard part of multiversity storytelling.
We Love Katamari Reroll + Royal Reverie is as accessible as it is attractive. Its bright art style and jubilant music make the gameplay deliriously uplifting.
The Japanese-ness of the yakuza cycle in films like Violent Streets connects with the era’s newly violent, high-octane gangster movies functioning as national parables.