Paramount’s fine-tuned Blu-ray should be an essential addition to the libraries of horror fans and audiophiles alike.
The film turns the act of survival into a powerful statement of defiance against the vagaries of the unknown.
Greg Berlanti’s film is a charmingly heartfelt portrait of a teenage boy about to leave the closet behind.
Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
The series is committed to exploring the spaces between what we want to be true and what’s actually true.
Bill Condon’s remake actually delivers a remarkably optimistic balm to a festering, existential wound.
Stacy Title’s The Bye Bye Man ends up succeeding most deftly as an advertisement for on-campus housing.
It abandons its subtlety en route to becoming a moralistic screed about the preservation of the nuclear family.
The juxtaposition of courtship and violence is the film’s one true coup, but it still mistakes weaponry for agency.
The season premiere functions familiarly as a laying of the groundwork for what’s to come, moving the plot pieces around to create sites for potential conflict.
At its worst, the film dangerously repackages the queer experience using language invented by those originally deployed to break it apart.
Stronger than its predecessor, which didn’t quite go as far in terms of representing these women in a wider context.
Most affecting in its depiction of friendship, and the performances represent platonic male intimacy in convincing, often moving ways.
As a metaphor for the way we respond to the media, the film succeeds most when it revels in ambiguity.
Wes Ball’s film is at its best when its characters are in motion, the world around them revealed as temporary, unstable, and always in flux.
The film, based on the novel by Gayle Forman, is an almost deliberate confirmation of Alison Bechdel’s claim that women in film are so often shown only in relation to men.
Nothing lasts forever without repeating itself, and in its final season, True Blood seems to have exhausted its stores of surprises.
The framing is overtly prescriptive, an image made to carry more than its maximum weight. When has freedom been undermined, and how?
The film’s form doesn’t distract from the content, and lets the characters speak for themselves.
The rage of women is always just below the surface of Coven, and one gets a sense here that it won’t stay buried for long.