Stranger than Terry Gilliam’s 1990s hits and less aggressive than his later work, the glorious fantasy The Adventures of Baron Munchausen was the last film where his talents fully flowered.
Little did the filmmakers behind Ruben Fleischer’s Venom know that Carnage would become a poisonous burden to Andy Serkis’ sequel, Venom: Let There Be Carnage.
Overlooked at the 2022 Oscars, Kirk DeMicco’s animated comedy Vivo expresses the “Trump-era anxiety” and ambiguous loss surrounding transnational migration.
The optimism found in Avatar: The Last Airbender darkens to cynicism and violence in the follow-up series, Avatar: The Legend of Korra. Why did this happen?
Marvel Studios’ What If…? on Disney+ is an intriguing animated and narrative exercise in the MCU, but why isn’t it as exciting as we anticipated?
In the campy B movie, Love Slaves of the Amazons boys are killed at birth while girls become savage murderers. Who are we to judge their alternative lifestyle?
Marvel Studios’ Black Widow was too little, too late for the MCU’s most popular female character due partially to misogynistic business practices at Disney.
Balancing its serious side with silliness and sincerity, queer-positive Everything Everywhere All At Once speaks to a communal determination to press forward, even when it seems the whole world is pressing back.
Just as Camille Paglia praised George Lucas’ magnum opus, Star Wars: Episode III – Revenge of the Sith, I too run the gauntlet of jeers and spitballs.
Restored 1936 Technicolor film Dancing Pirate crosses the early talkies’ vogue for absurd musicals with its other vogue for Hollywood Mexicana.
Robert Eggers’ witchy, weird, and pitilessly violent Viking revenge saga, The Northman, features operatic scope and magical imagery that will burn into your retinas.
Filmmakers Daniel Kwan and Daniel Scheinert on the many possibilities within Asian mothers as seen in their sci-fi comedy Everything Everywhere All at Once.