On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
There’s a reason why superheroes were originally dismissed as naïve power fantasies for impotent men.
We lamely present you with a carbon copy of the SAG’s own nominees for Best Actor.
On Sunday and Monday, Noir City went gaga for blondes.
We’ve said it before and we’re going to say it again.
Somebody writing about Fellini in the ’60s said that he stole from everybody but left his thumbprints on it.
When in Rome’s finest moment winds up involving the frame going intentionally black.
Mo’Nique might want to pull it waaaaayyy back before she loses the Oscar, but she’s at least a lock for a nomination.
The documentary beats in arrhythmic time with its subjects’ fascinating, and strangely familiar, confusion.
Stanley Tucci’s two high-profile performances should have equaled one easy nomination.
The second day of Noir City featured four wildly different films, each in service to noir in its own way.
44 Inch Chest parades profanity, jumbled chronology, and limp psychodrama.
Falling Awake is more of a digitally prettified endurance test than a film.
The film loses its footing on the story’s difficult emotional terrain, taking a safer detour into areas associated with achy-breaky teen romances.
The filmmakers do best when the climbers’ fight for survival isn’t overwhelmed by the ominous time and place.
The film is a tone-deaf odyssey of personal discovery striving to echo Dante’s Inferno.
The gift of time and perspective has added a few kinks to what seems a mostly pedestrian experience.
Edge of Darkness is a tonally stilted procedural with an inappropriately impassive air.
Wim Wenders’s film evokes an America most Americans yearn to gaze on.
There was always something hard and saucy about Jean Simmons’s demeanor.
Opening night provided the perfect double feature to highlight this year’s double-L themes with 1948’s Pitfall and that same year’s Larceny.