Fools Who Dream Movies https://validator.w3.org/feed/docs/rss2.html Grading the Best Post-Pandemic Male Movie Characters Bennett’s Final 2025 Oscar Predictions “Ready or Not 2: Here I Come” Review: Radio Silence Takes a Page From John Wick’s Playbook  “How to Make a Killing Review”: Glen Powell Steals From the Rich and Gives to Himself Fools Who Dream Movies Podcast “The Bride!” Review: Maggie’s Monstrous Metafiction “Good Luck, Have Fun, Don’t Die” Review: Gore Verbinski Breaks His Hiatus—and the Internet “Megalopolis” Review: Francis Ford Coppola Builds a City of Dreams and Nightmares “Avatar: Fire and Ash” Review: Learning the Difference Between Right and Varang And the 2025 Oscar Nominees Should Be…. (According to Bennett) Of Sinners and Supermen: Morgan’s Top 10 Movies of 2025 Bennett’s Top 12 Movies of 2024 “Resurrection” Review: Goodbye, Cinema, Hello Portland Movie Calendar Bridget Jones: Mad About the Girl “Babygirl” Review: Leaning Into Sex Positivity Bennett’s Top 10 Movies of 2025 Wong Kar-wai’s “2046” in 2025: A Requiem for Romance, an Elegy For Hong Kong “Hamnet” Review: All Things in Heaven and Earth Are Dreamt of in Chloé Zhao’s Cinema Bennett’s Summer 2025 Best-to-Worst Movie List “Send Help” Review: Sam Raimi Directs the Unholy Love Child of “Misery” and “Survivor”  Another Happy Day in Hell: A “Hazbin Hotel” Season Two Review Our Team Before the Dead Man Wakes: A Rian Johnson Retrospective Ranking Last Flag Acting: What Democrats Can Learn From Movie Politicians “A House of Dynamite” Review: On Kathryn Bigelow’s Command, Unleash Hellfire “One Battle After Another” Review: Times Are Hard, Cinema Is Brave “A Big Bold Beautiful Journey” Review: Cosmic Romantics, You Have Reached Your Destination “The Smashing Machine” Review: Dwayne Johnson Learns To Lose in Benny Safdie’s MMA Biopic Astonishing, Uncanny, Extreme: An Oral History of “X-Men” (2000) “Caught Stealing” Review: The Dispassion of Darren Aronofsky “Superman” Review: Joy, Silliness, and the Kryptonian Way How History Fulfilled the Prophecies of Satoshi Kon  Michael Bay’s “The Island” Turns 20 in an Era of Bioethical Nightmares “Always Hold On To Smallville” Review: A Poignant Podcast Eclipses Its Inspiration “F1: The Movie” Review: Driving Into a Pitt of Motorized Propaganda “Frankenstein” Review: Guillermo del Toro Beautifully Revivifies His Literary Favorite Last Mission: Tom Cruise, Christopher McQuarrie, and the Unfulfilled Promise of “The Final Reckoning” “The Life of Chuck” Review: God’s Dancing Accountant Trips Over His Own Feet “Materialists” Review: Love Dies To Be Reborn In Celine Song’s 21st Century Romance “The Magic Hours” Review: A Brilliant Biography of Terrence Malick’s One Big Soul And the 2024 Oscar Nominees Should Be…. (According to Bennett) “The Brutalist” Review: There Will Be Architecture Bennett’s Top 25 Favorite Films of All Time Jurassic Drive-In: Memories of Summer Moviegoing, Family Traditions, and Megafauna  “Tomorrowland” in 2025: Defying a Dark Future for Disney (and the World) This Is How Childhood Ends: Growing Up in the Shadows of “Star Wars: Revenge of the Sith” “Being Maria” Review: Dancing Beyond the Degradations of “Last Tango in Paris” Adam Driver Will Return as Cesar Catilina in “Avengers: Doomsday” Home