Kyle Edward Ball’s low-budget experimental horror film is a dissociative nightmare.
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Damien Chazelle’s epic tragicomedy, Babylon, is yet another investigation of the personal cost of art and a wildly ambitious, if uneven, ode to silent cinema.
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Hirokazu Kore-eda transforms what sounds like a dour thriller into a heartfelt examination of forgiveness and what constitutes a family.
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Aren shares his favourite films from the past year, including Crimes of the Future, Avatar: The Way of Water, and Decision to Leave.
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Anders and Aren dig into Adam Curtis’ Russia 1985–1999: TraumaZone, which charts the collapse of the Soviet Union and the stillbirth of Russian democracy.
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The Brothers list their essential films of 2022, including prestige pictures, blockbusters, arthouse and international cinema, and documentaries.
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Sean Anders’ musical riff on A Christmas Carol starring Will Ferrell and Ryan Reynolds is a hyperactive, amiable, and incoherent bit of Christmas content.
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The Brothers discuss James Cameron’s return with Avatar: The Way of Water. How does the sequel hold up?
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The Brothers cap off their James Cameron Retrospective with individual rankings of all his feature films, including Avatar: The Way of Water.
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Charlotte Wells’ debut feature, Aftersun, is a cinematic act of recollection and a tribute to a father she never properly understood.
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Jerzy Skolimowski’s EO, a remake-of-sorts of Robert Bresson’s Au Hasard Balthazar, creates a portrait of animal personhood in its tale of a donkey passed between owners in modern Poland.
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The Brothers discuss the second half of Cameron’s career, including his move away from the science-fiction genre in the 1990s, his 2000s undersea documentaries, and the philosophy and worldbuilding of Avatar.
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With Avatar, the biggest film of all time, James Cameron makes a populist blockbuster that works as a cinematic baptism for the viewer.
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In his third deep sea documentary, Aliens of the Deep, James Cameron explores the amazing life forms that thrive in some of Earth’s most hostile environments and paves the way for the next phase of his career.
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James Cameron, Bill Paxton, and a team of explorers return to the wreck of the RMS Titanic to bear witness and memorialize those who were lost.
In Expedition: Bismarck, James Cameron uses the conventions of television historical documentaries to present a portrait of himself as a storyteller and an amateur scientist.
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Titanic is a gargantuan summation of the breadth and depth of Cameron’s cinematic craftsmanship as well as his thematic obsessions.
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True Lies is an outlier in James Cameron’s filmography, but this screwball action-comedy delivers on the action and domestic drama.
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In this roundtable discussion, the Brothers dig into James Cameron’s first five films and discuss his approach to franchise filmmaking, action, and pet themes around water and technology.
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James Cameron’s Terminator 2: Judgment Day is the ur-sequel, the cinematic text that shows what is possible not only in sequel cinematic storytelling, but in the blockbuster movie as a whole.
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