Anton analyzes Emerald Fennell’s Wuthering Heights as an adaptation of Emily Brontë’s literary classic.
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Happy Gilmore is the most perfect example of Adam Sandler’s comedic abilities and appeal.
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Pascal Plante’s psychological thriller is one of the most disturbing movies of recent years.
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Anders looks back at Christopher Nolan’s Interstellar on the film’s 10th Anniversary, noting its masterful mix of science and sentiment.
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Russell Crowe’s General Maximus is one of the great movie heroes.
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The casting of the man who was James Bond transformed The League of Extraordinary Gentlemen.
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In Dune: Part Two, Denis Villeneuve mirrors narrative and relationship patterns from Dune: Part One in order to amplify the film’s dramatic impact.
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Why everyone who is a fan of the films of Christopher Nolan should watch his first feature.
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Alex Garland’s Civil War is more provocative exploitation film than political treatise.
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Jonathan Glazer’s The Zone of Interest is like an art installation about what exists just outside the frame.
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Anton makes the case for watching the first Harry Potter movie during Christmas time.
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60 years after John F. Kennedy’s assassination, Oliver Stone’s JFK captures how essential conspiracy is to modern life,
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With restraint, focus, and power, Sound of Freedom exposes the demand and supply sides of child trafficking.
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The Tron movies are visual and franchise landmarks for cinema.
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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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The Batman captures the character of the Dark Knight as well as the mood of our current darkening age.
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1917 can only seem incredibly real and immersive for generations far removed from the actual horrors of 1914–1918.
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The opening of Roland Emmerich’s 1996 disaster extravaganza ranks among the most effective blockbuster openings of all time.
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Musings on consciousness, cryptomnesia, strange loops, artistic inspiration, and Christopher Nolan’s Tenet as inspired by Charlie Kaufman’s I’m Thinking of Ending Things.
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The Last Wave examines how colonialism manifests an eschatological divide that ripples out across the spiritual world.
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