In a society of things, social responsibility requires a recognition of the influence of commodities upon our most foundational spiritual experiences. Nickelodeon's animated series, Rocko's Modern Life, puts it simply.
Director Craig Brewer helms his breezy tribute to Rudy Ray Moore, the '70s Blaxploitation icon who influenced an entire generation of young Black performers, with Dolemite Is My Name.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
The Criterion Collection's essential 30th anniversary Blu-ray package of Spike Lee's Do the Right Thing honors the film's heart, aesthetic brilliance, and pointed message on American racism, diversity, and community.
Unlike his earlier provocations, John Waters' Polyester suggests that moral depravity may be liberating for the person willing to embrace it, but it always gives rise to pain elsewhere.
If the best measure of success for a comic book film is how well it captures the tone for the central character, then Ryan Reynold's beloved character in Deadpool makes it among the greatest superhero films of all time.
There are strong emotional stakes and likeable characters in Peyton Reed's Ant-Man, but they are all rooted in a, well, less than epic scale. This makes Ant-Man refreshing, an MCU palate cleanser.
Josh Cooley's addition to the Toy Story universe is injected with something altogether more cosmic in scope than the previous films -- a comedic reverie of all things disintegratory.
Jean-Luc Godard's cinematic oddities First Name: Carmen, Détective, and Hélas pour moi, newly released on Blu-ray from Kino Lorber, embody the vast landscape of possibilities open to the director during the '80s and '90s.
Director Gurinder Chadha and author/journalist Sarfraz Manzoor discuss the culture clash that inspired their film, Blinded by the Light, based on Manzoor's cross-cultural memoir, Greetings from Bury Park.
Once Upon a Time...In Hollywood is the clearest signal yet of Quentin Tarantino's transition from creative referentialist to repeat offender, standing somewhere between revisionism and recidivism.
Heaven Can Wait is Lubitsch's most successful film due to his ability to turn a period-piece into an enchanting story about the human condition.
Tarantino's surprisingly warm fantasy mash-up of California dreamin' and arthouse B-movie revenge fantasy, Once Upon a Time...in Hollywood, is dreamy but sacrifices coherence for the indulgence of changing history.
The legendary director's hotly anticipated ninth film, Once Upon a time... in Hollywood, applies his trademark wit to '60s Hollywood, but ultimately it's an oddly conservative machismo, not inventive filmmaking, that shines through.
Phoebe Waller-Bridge's Fleabag forces viewers to sit down at the dinner table with "the family", which is a game of conversational hot potato -- and nobody wants the f*cking potato.
Tarantino's latest, Once Upon a Time.. in Hollywood, is a breezy, top-down-on-the-convertible kind of film that wows you with its surprising sweetness before punching you with a bloody fist.
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