In The Abyss, his most intimate and idiosyncratic film, James Cameron takes us to the bottom of the ocean in order to discover what it means to be human.
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Aliens is a deep exploration of the warrior mother as well as a gripping and relentless science-fiction action thriller.
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With The Terminator, James Cameron arrives on the stage as a director in full control of his craft, delivering one of the greatest science fiction films of all time.
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Romain Gavras’ Athena is an impressive formal achievement, although it never manages to resolve the tensions between its operatic storytelling and its slightly-artificial visual approach.
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James Cameron might’ve been fired from the production of Piranha II: The Spawning, but the shlocky Jaws ripoff remains instrumental in showing the elements that shaped Cameron as a filmmaker.
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The Brothers kick off their James Cameron Retrospective in the lead-up to the release of Avatar: The Way of Water.
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James Gray’s Armageddon Time captures the pain and regret of nostalgia as well as its longing and warmth.
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Twelve O’Clock High is a great account of the physical and mental toll on active servicemen, as well as a gripping portrayal of the nuts and bolts of daytime precision bombing during World War II.
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David Bruckner’s Hellraiser reboot is a flattened riff on the tale for a flattened cinematic culture.
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A ranking of each film in the iconic horror series, Halloween, which digs into the series’ strengths and weaknesses. Updated to include Halloween Kills and Halloween Ends.
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Examining the 11 films in the Hellraiser franchise and exploring their shared thematic interests and narrative failings. Updated to include the 2022 reboot.
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Anders looks at the five films in the Exorcist franchise and looks at how each one expands on the original.
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In Nosferatu, the corrupting power of the vampire is linked to that most symbolically potent infectious disease, the Black Death.
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Morbius is a real superhero movie in the way that airplane food is real food.
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Roger Corman’s The Masque of the Red Death is more effective as a late-night Gothic thriller than as an adaptation of Edgar Allan Poe’s famous short story.
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The Brothers discuss, among other things, the merits of “elevated horror,” schlock, gore, silly ideas, and the nature of the horror genre.
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Shinya Tsukamoto’s Tetsuo: The Iron Man is a hallucinogenic fever dream made by a mad man.
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Last Night in Soho has an incredible premise and many excellent features, which makes it especially disappointing when the film goes off the rails.
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Ti West’s Pearl is a terrific showcase for Mia Goth, as well as clever franchise extension to X from earlier this year.
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Using animation to recreate the subjects’ memories, Eternal Spring considers the hijacking in 2002 of broadcast TV by a group of Falun Gong practitioners in northeastern China.