“Backrooms” Review: Entering the Liminal Space Between Hollywood and YouTube
Kane Parsons directed multiple Backrooms videos, fleshing out a retro sci-fi conspiracy thriller universe that enticed arthouse distributor A24.
“Silent Friend” Review: The Roots of Human Connection Reach Across Time
Echoing “Intolerance” and “Resurrection,” “Silent Friend” extends through eras in search of the high of one life brushing up against another.
Ships and Spies, Cars in the Sky: Three Great Books About Movies
This week, we’re reviewing books about a “Titanic” producer, a “Bourne” director, and a movie franchise all about (insert Vin Diesel growl) “family!”
Spring Review Roundup: “The Christophers,” “Hamlet,” “Exit 8,” and “The Drama”
Soderbergh! Riz Ahmed! Liminal space! A24 nonsense!
“The Chronology of Water” Review: A Queen of Waves and Words
Kristen Stewart distills Lidia Yuknavitch’s life one texture at a time: water, blood, flesh, fury.
“Ready or Not 2: Here I Come” Review: Radio Silence Takes a Page From John Wick’s Playbook
While most slashers have unlikable, unintelligent protagonists, “Ready or Not 2” Samara Weaving as a street-smart badass.
“The Bride!” Review: Maggie’s Monstrous Metafiction
The film is wild, unfocused, and utterly chaotic—and it may end up being one the best movies of the year.
“How to Make a Killing Review”: Glen Powell Steals From the Rich and Gives to Himself
John Patton Ford (“Emily the Criminal”) combines the mythic piety of Francis Ford Coppola and the spiritual torment of Martin Scorsese.
“Good Luck, Have Fun, Don’t Die” Review: Gore Verbinski Breaks His Hiatus—and the Internet
“Good Luck” marks the return of Verbinski a full decade since his last feature, the magically mountainous cult classic “A Cure For Wellness.”
“Send Help” Review: Sam Raimi Directs the Unholy Love Child of “Misery” and “Survivor”
Raimi, now an elder statesman of cinema, indulges his desire to test the limits of character likability.
