For a certain kind of music nerd, the idea of the humorous rock song will always be blasphemy.
For a decade now, Paul Thomas Anderson has been American cinema’s giant-in-waiting.
There are, in this 158-minute film, a few effects, mainly photographic, that go right.
The essence of stoner comedy is the unlikely triumph of the seemingly maladjusted stoner over normalized, disapproving society.
If the human voice shatters the etherealness of certain moments, then so too does language itself.
It’s always sad to see a film capable of more settling for less.
Revolutions fade into the history books, but teen angst never dies.
Neon Genesis Evangelion exists as a way to tell you it is okay to be watching anime.
Flakes could have been dropped anywhere with a recognizable skyline.
Tim Burton lets loose with big bursts of stylized bloodletting, and achieves some extremely pretty effects as jugular veins explode all over the place.
Dexter in its second season is bolder and stronger than almost any other drama on the dial.
The many critics who panned Myra Breckinridge decades ago when it was first released were as clueless as John Huston’s Buck Loner.
Thankfully it’s not my job to figure out how the Viacoms and the Newscorps of the world are supposed to make a profit online.
It sure looks like an awesome party I would’ve loved to been able to afford.
The film sets out to steal some of that J.K. Rowling magic and sprinkle it over Philip Pullman’s series of fantasy novels.
Joe Wright’s version of Ian McEwan’s novel is visually snappy but emotionally inert.
Whenever the film’s observational aesthetic threatens to become too distanced and clinical, Miller throws a wrench in the works.
Here are 10 fragments from White’s writing that I’ve wanted to frame and hang on a wall.
After being MIA for two weeks, Jason Street returns with what may very well be the dumbest plot point the show has ever asked the audience to swallow.
Only at the end does Juno actually work as a film and not merely as an acting/writing showcase.