The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
Kingdoms of Amalur takes all of the principles of videogames – agency, choice, exploration, conflict – and turns them into an expansive experience of testing the conventions, and even the technical framework, of videogame fiction itself.
Arwen Curry's documentary, Worlds of Ursula K. Le Guin, shows how, in Le Guin's writings, fantasy can be viewed as both a different way of seeing and understanding the past, and a new way of seeing the present -- and what the future could be.
Neoliberalism offers the illusion of choice. The triumph of geek culture is an illusion of triumph; it's just another way to be bought—and to like it. A critique of A.D. Jameson's I Find Your Lack of Faith Disturbing.
There's a rotten core at the center of Lubitsch's Heaven Can Wait. No matter how engaging I find Haskell and Sariss's enchantment with the film, I cannot accede to their critical adulation of it and of Henry.