The film falls into a newly developing and disinteresting (if not downright problematic) trend of “girlboss feminism film.”…
« read »
It is a great pleasure to be back again, to return to…
Veronica Phillips reflects on 'Nope' and its depiction of California life, and…
Latest
This animated show is a groundbreaking example of authentic and positive representation of transgender identity and neurodiversity.…
This Southern Gothic horror film has an interesting premise and intriguing characters, but neglects to do anything truly worthwhile with them.…
‘Next Door’ takes a strong premise and allows it to play out in well-orchestrated tension.…
‘Aftersun’ is an emotional recollection of a Turkish holiday, and how relationships between fathers and children evolve as we, and our memories, age.…
This is a film not so much made for queer people than for those who feel the only way to empathize with gay people is to cry about how terribly hard it is for them.…
Baz Luhrmann's musical spectacles are lively celebrations as well as moving reflections.…
Frances from ‘Conversations with Friends’ is better at communication via text than in real life, an awkwardness and emotional reticence that has resonated with so many Gen Z.…
Despite the differences between the two couples in ‘Rouge,’ both find themselves enthralled with an idealized love, even if that devotion is unobtainable. …
Advertisements In the newest and bloodiest film from A24, seven privileged friends gather at an isolated mansion to party-out an oncoming hurricane. New lovers, the sweetly accented Bee (Maria Bakalova) and impulsive, newly recovering Sophie (Amandla Stenberg), grin sheepishly at each other…
A film full of potential fails to fully crystallize its protagonist.…
Familiar desperation is where the horror lies.…
The cinematographic and sonic immersion make this a feast for the senses.…
‘Honeycomb’ finds mesmerizing madness underneath the ordinary world.…
Advertisements Twenty years ago, when Mark Romanek’s psychological thriller One Hour Photo was released, Roger Ebert, in a review, described its protagonist Seymour “Sy” Parrish (Robin Williams) as being similar to the murderer Mark Lewis (Carl Boehm) in Michael Powell’s 1960 horror-thriller Peeping Tom. Where Mark…
Looking back on the film that still defines many of the tropes and themes of the woman-stalking-woman film as it exists today in more detail highlights the ways in which tacit lesbophobia and cultural anxieties about gender nonconformity undergird all woman stalker…