The Netflix horror series Archive 81 demonstrates how the works of H. P. Lovecraft are essential reference points for contemporary found-footage horror.
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Ti West’s X is a nasty, entertaining slasher with well-developed characters and some surprising moral commentary.
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The Batman captures the character of the Dark Knight as well as the mood of our current darkening age.
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Aren offers his predictions for the 2022 Oscars, as well as his personal picks for each category.
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Matt Reeves’s take on Batman is brooding, stylish, and refreshingly cinematic.
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This 2015 documentary about Ukrainian Pastor Gennadiy Mokhnenko asks the question: what does it look like to live out the gospel in the modern world?
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Gaslight is a brilliant, disturbing portrait of psychological torment in the domestic sphere.
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The new Texas Chainsaw Massacre requel is stylish and short, but it has a dearth of compelling characters and story at its centre.
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The Brothers discuss F. W. Murnau’s iconic adaptation of Dracula on the occasion of its 100th Anniversary.
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Steven Soderbergh’s new techno-thriller set during the pandemic is timely and stylish, but narratively predictable.
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Joachim Trier’s The Worst Person in the World expresses the ineffable in ways that are rarely achieved on film.
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Anders shares his top films of 2021, including Annette, Licorice Pizza, and The Tragedy of Macbeth.
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Warren Beatty’s political satire, Bulworth, finds new relevance in a post-Trump world.
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Spider-Man: No Way Home is fun as a movie, but troubling as a statement about where Hollywood is headed.
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Anton’s comments on moving pictures in 2021.
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Matt Bettinelli-Olpin and Tyler Gillett’s “requel” of the Scream series doubles down on the meta aspect of the series to entertaining effect.
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Aren shares his favourite television shows of 2021, including How To with John Wilson, Squid Game, and I Think You Should Leave with Tim Robinson.
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Aren shares his favourite films from the past year, including Dune, Can’t Get You Out of My Head, and The Card Counter.
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The Brothers dig into Jane Campion’s Western, examining its depictions of the American West, exploration of masculinity, and the meaning of the title.
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Under Siege may be Steven Seagal’s best movie, but it’d be much better if he wasn’t in it at all.
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