Inverse (2023-)

Fingernails Wants to Test the Limits of What We Think of As Sci-Fi

Primetimer (2020-)

Q&A: Marielle Heller on Bringing What the Constitution Means to Me to Amazon

Roger Ebert (2020-)

Easy A at 10: The Definitive Millennial High School Movie Emerges

The Individual Top Tens of 2020 (contributor)

The Great Performances of 2020 (contributor)

The Playlist (2019-)

Todd Phillips Denies ‘Joker’ Sequel & Meeting Reports; Responds to Scorsese’s Marvel Comments

‘6 Underground’: Netflix Enables Michael Bay To Reach New Bombastic Heights [Review]

Daniel Craig Suggests Rewatching All Of His Bond Films Before ‘No Time to Die’ & Talks ‘Knives Out’ Sequel

‘Crip Camp’: A Hopeful, Joyous Documentary With An Activist Spirit [Review]

Michael Shannon Reflects on ‘Take Shelter’ During A Pandemic & Talks His New Film, ‘The Quarry’ [Interview]

‘The Great’: Nicholas Hoult Earns His Crown In Hulu’s Royal Romp [Review]

‘Capone’: Tom Hardy Goes For Broke, But Josh Trank’s Surreal Film Is Too Consumed With Paranoid Fever Dreams [Review]

‘Love Life’: Anna Kendrick’s Charm Can’t Sustain A Full Season In HBO Max’s Flagship Series [Review]

‘On The Record’ Is A Refreshingly Intersectional & Moving #MeToo Documentary [Review]

Jesse Plemons Reflects On ‘El Camino,’ Acting Opposite Philip Seymour Hoffman In ‘The Master’ & More [Interview]

Jon Stewart’s Electoral System Satire ‘Irresistible’ Confuses Activism And Artistry [Review]

‘The Old Guard’: Gina Prince-Bythewood Assembles Immortal Avengers With Charlize Theron [Review]

‘Spree’ Is a Terrifying, Provocative Addition To “Extremely Online” Cinema [Review]

Josh Boone Details How Fox-Disney Merger Affected ‘The New Mutants’ & How Movies Are “An Essential Service” [Interview]

‘Penguin Bloom’: Naomi Watts Succumbs To Ableist Tropes & Overwrought Metaphor In Glendyn Ivin’s Film [TIFF Review]

‘Monday’ Goes Downhill As Its On-Screen Couple’s Relationship Does [TIFF Review]

‘I Care A Lot’ Unleashes Rosamund Pike in Her Best Role Since ‘Gone Girl’ [TIFF Review]

‘Another Round’ With Mads Mikkelsen Is A Boozy Blast Of A Midlife Crisis Movie [TIFF Review]

‘The Climb’ Filmmakers & Stars Michael Angelo Covino & Kyle Marvin On Their Patient, Impulsive Buddy Comedy [Interview]

Mads Mikkelsen Talks Drinking and Dancing in ‘Another Round,’ Joining ‘Fantastic Beasts’ [Interview]

Writer/Director Thomas Vinterberg on Letting His Alcohol-Inspired ‘Another Round’ Remain Untamable [Interview]

‘Palmer’: We’re Past The Need For Another Antiquated Allyship Drama Like Apple’s Latest Film [Review]

‘Limbo’: Ben Sharrock’s Deadpan Humor Makes This Refugee Story Come Alive [Review]

‘Snake Eyes’: No Dice, As Paramount’s Attempt To Give ‘G.I. Joe’ A Renewed Bite Fails [Review]

‘Becoming Led Zeppelin’ Is A Leaden, Overlong Doc Solely For Superfans [Venice Review]

‘Django & Django’: This Supposed Sergio Corbucci Doc Mostly Caters To The Musings Of Quentin Tarantino [Venice Review]

‘Another World’ Is Another Complex Capitalism Critique From Filmmaker Stéphane Brizé [Venice Review]

‘The Great’ Season 2 TV Review: The Chemistry Between The Two Leads Is Almost Derailed By Tedious Subplots

Alia Shawkat Talks The Final Season Of ‘Search Party’ & Dory’s Latest Character Shift [Interview]

‘Uncharted’ Review: Tom Holland’s Charms Can’t Keep This Adventure On Course

‘Mr. Landsbergis’ Review: Sergey Loznitsa Chronicles Lithuania’s Journey To Freedom [True/False Film Festival]

‘2nd Chance’ Review: Ramin Bahrani’s First Documentary Muddles Its Metaphor [True/False Film Festival]

‘After Sherman’ Review: Jon-Sesrie Goff Offers a Cinematic Prayer For & By South Carolina [True/False Film Festival]

‘Sonic The Hedgehog 2’ Review: This Speedy Sequel Zooms Past What Makes The Series Special

‘Avatar: The Way Of Water’ What We Learned From Watching The New Trailer

‘Hustle’ Review: Adam Sandler’s Got Game In Boilerplate Basketball Flick

Scott Speedman On ‘Crimes Of The Future,’ ‘Sharp Stick’ & Taking Risks [Interview]

‘Crimes Of The Future’: Viggo Mortensen Initially Wanted A Smaller Part, Léa Seydoux On Cronenberg’s World [Interview]

‘Jurassic World Dominion’ Review: Colin Trevorrow’s Latest Is Unapologetic Nostalgia Executed Skillfully & Shamelessly

‘Marcel The Shell With Shoes On’ Review: A24’s Latest Finds A Lovely, Sublime Magic In The Mundane

‘Apples’: Director Christos Nikou On The ‘Melancholic Smile’ Of His Movie While Teasing ‘Fingernails’ With Jessie Buckley & Producer Cate Blanchett [Interview]

‘Murina’ Is A Luminous & Disarmingly Frank Feature Debut From Antoneta Alamat Kusijanović [Review]

‘Not Okay’ Review: A Half-Baked Cancel Culture Thinkpiece With A Warped Moral Compass

‘Industry’ Review: Season 2 Is A Gripping Look At How COVID Upended The Corporate World

‘They/Them’ Review: Blumhouse’s Latest Frightfest Shows The Limitations Of The Social Thriller Template

‘Orphan: First Kill’ Review: A Predictable Horror Prequel Without Anything New To Offer

‘Beast’ Review: A Slightly Spielbergian Creature Feature With A Real Roar

‘Un Couple’ Review: Frederick Wiseman’s Stylistic Exercise Is Pleasant, Albeit Plain [Venice]

‘Padre Pio’ Review: Shia LaBeouf’s On-Screen Redemption Play From Abel Ferrara Holds Little Power [Venice]

‘Athena’ Review: Romain Gavras’ Police Brutality Thriller Is Positively Electrifying [Venice]

‘Monica’ Review: Trace Lysette Stuns in Andrea Pallaoro’s Quiet Family Drama [Venice]

‘Dead For A Dollar’ Review: Walter Hill Rides Again In A Fun, Flimsy Western Adventure [Venice]

‘The Son’ Review: Hugh Jackman Ably Anchors A Devastating, But Ultimately Dull Domestic Drama [Venice]

‘Dreamin’ Wild’ Review: Bill Pohlad’s Emerson Brothers Tale Is The Cure For The Conventional Music Biopic [Venice]

‘Hocus Pocus 2’ Is Double The Toil And Not Worth Your Trouble [Review]

‘Strange World’ Could Stand To Be A Bit Stranger [Review]

‘Emancipation’ Review: A Hollow Proclamation From Will Smith And Director Antoine Fuqua

The Top 25 Films of 2022 (contributor)

‘Avatar: The Way of Water’ Review: James Cameron’s Sequel Is Blockbuster Filmmaking At Its Biggest & Best

Mark Pellington on Creating a New, Old Ben Affleck Movie with ‘Going All the Way: The Director’s Edit’ [Interview]

‘The Pale Blue Eye’ Review: Another Sturdy Collaboration Between Christian Bale & Director Scott Cooper

The Playlist’s Guilty Pleasures Of 2022 (contributor)

‘M3GAN’ Review: Blumhouse Finds the Sweet Spot Between Creepy And Campy In New Killer Doll Horror

‘Full Time’ Feels As Stressful As Today’s Economy Is [Review]

‘Magic Mike’s Last Dance’ Raucously Remixes Gene Kelly For The G-String Set [Review]

‘Cocaine Bear’ Review: Elizabeth Banks’ Wild Satire Fails To Deliver On The Craziness And Irreverence Of Its Premise

‘Boston Strangler’ Review: A Fascinating, Formulaic Investigative Journalism Thriller Starring Keira Knightley & Carrie Coon

‘The Super Mario Bros. Movie’ Review: An Unconvincing Nintendo Billboard, Unfortunately

‘The Great’ Review: Hulu’s Catherine The Great Series Gets Grim, Stays Good in Season 3

Eliza Scanlen Talks Character, Community, and Coming-of-Age in “The Starling Girl” [Interview]

‘Transformers: Rise Of The Beasts’ Review: Latest Fighting Robots Sequel Proves The Franchise Is Out Of Gas

‘Downtown Owl’ Can’t Quite Translate Chuck Klosterman From Page To Screen [Tribeca]

‘Eric Larue’ Review: Michael Shannon’s Directorial Debut Gives Judy Greer the Spotlight She Deserves [Tribeca]

‘Full Circle’: Steven Soderbergh’s Botched Kidnapping Series Is A ‘Traffic’-esque Throwback [Tribeca]

‘Blood For Dust’ Review: Pencil-Thin Story Wastes Solid Craft And Performances [Tribeca]

‘Maggie Moore(s)’ Review: Jon Hamm & Tina Fey Can’t Save This Tonal Mess Of A Crime Comedy [Tribeca]

‘Bucky F*cking Dent’ Review: David Duchovny Strikes Out Swinging In Adaptation Of His Own Novel [Tribeca]

‘Our Son’ Review: Luke Evans Outshines a Derivative Gay Divorce Drama [Tribeca]

‘Time Bandits’: Terry Gilliam Reflects On The Evolution Of Family & Fantasy Films Ahead Of Criterion 4K Release [Interview]

‘Barbie’ Review: An Existential & Electrifying Comedy Cementing Greta Gerwig’s Status As Master Storyteller

‘Oppenheimer’ Review: Christopher Nolan Majestically Turns the Manhattan Project into American Myth

‘Freaky Tales’ Review: Pedro Pascal Stars In An Energetic But Overstuffed Bay Area Anthology Loveletter [Sundance]

‘Sasquatch Sunset’ Review: The Zellner Brothers Deliver A Bawdy, Bold Bigfoot Romp [Sundance]

‘The American Society Of Magical Negroes’ Review: Kobi Libii’s Racial Satire Is Sensitive & Sharp [Sundance]

‘Love Lies Bleeding’ Review: Rose Glass’ Bloody, Brutal Bash Burns With Passion & Pride [Sundance]

‘Presence’ Review: Steven Soderbergh’s Unsettling Ghost Story Menace Is Memorable & Magical [Sundance]

‘Winner’ Review: Emilia Jones Can’t Really Rescue An All-Too-Safe Biopic Treatment [Sundance]

‘In A Violent Nature’ Review: Chris Nash’s Debut Heralds A Major New Voice In Horror [Sundance]

‘Krazy House’ Review: A Khaotic Kluster of Nihilistic Nothingness [Sundance]

‘Rob Peace’ Review: Chiwetel Ejiofor Renders A Grand Life As Middling Biopic [Sundance]

‘Kneecap’ Review: A Raucous, Rebellious Tribute To The Rappers Fighting For The Irish Language [Sundance]

‘Argylle’ Review: This Silly, Simple Spy Tale Shows Matthew Vaughn Is Out Of Ideas

‘Sacramento’ Review: Michael Angarano, Michael Cera & Kirsten Stewart Plunge Into Paternal Anxieties [Tribeca]

‘Swimming Home’ Review: Christopher Abbott & Mackenzie Davis’ Island Vacation Makes A Smaller Splash [Tribeca]

‘Beetlejuice Beetlejuice’ Review: Tim Burton Is Back & At His Best in Decades [Venice]

‘I’m Still Here’ Review: Walter Salles Renders Brazilian Injustice As Bland Historical Drama [Venice]

‘2073’ Review: Asif Kapadia With Samantha Morton Reframes Dystopia As Present, Not The Future [Venice]

‘Queer’ Review: Luca Guadagnino’s Burroughs Adaptation With Daniel Craig Is Fascinating But Unsettled [Venice]

‘Harvest’ Review: Caleb Landry Jones Tries To Expand Borders In Athina Rachel Tsangari’s Allegorical Drama [Venice]

‘Pavements’ Review: Alex Ross Perry’s Tribute To Cult Indie Rock Group Demolishes Musician Biopic Conventions [Venice]

Decider (2018-)

‘Dunkirk’ And The Christopher Nolan Lie

Duncan Jones Can Rebound From ‘Mute’ By Finding Another ‘Source Code’

It’s Time We Stop Taking Carey Mulligan For Granted

‘Thank You for Your Service’ and ‘Only the Brave’ Establish The Ethos Of A New Decade For Miles Teller

Lynn Shelton’s ‘Outside In’ Wrestles With The Effects Of The Prison System

‘The Incredibles’ Still Holds Up in the Age of the Marvel Cinematic Universe

Can the ‘Sicario’ Franchise Survive Without Emily Blunt?

The Distinctive Visual Style Of ‘Sharp Objects’ Can Be Traced Back To ‘Wild’

World Class Everyman Chris Messina Has Earned The Chance To Lead His Own Show

Hulu Stakes Its Claim As a Documentary Destination

Thomas Mann on Growing Up in Netflix’s ‘The Land of Steady Habits’

‘A Prayer Before Dawn’ is a Different Kind of A24 Film

Significant ‘Other’: How Chris Kelly’s ‘Other People’ Informs ‘The Other Two’ on Comedy Central

Smells Like ‘10s Spirit: How That Iconic Trailer Saved ‘The Social Network’

Smells Like ‘10s Spirit: Why ‘Bridesmaids’ Owns the GIF Era of Movie Comedy

Smells Like ‘10s Spirit: How ‘The Avengers’ Assembled the First Successful Cinematic Universe

Smells Like ‘10s Spirit: How ‘Blackfish’ Epitomizes the Era of Hashtag Activism

Smells Like ‘10s Spirit: How ‘The LEGO Movie’ Gave Brands a New Way to Talk

Smells Like ‘10s Spirit: ‘Jurassic World’ and the Era of Nonstop Nostalgia

Smells Like ‘10s Spirit: How The Existence of ‘Deadpool’ Exemplifies the Power of Fan Culture

Smells Like ‘10s Spirit: How Memes Cemented ‘Get Out’ Firmly in the Cultural Lexicon

Smells Like ’10s Spirit: ‘Black Panther’ and the Shattered Myth of the Unbankable Black Film

Smells Like ‘10s Spirit: ‘The Irishman’ is Cinema’s Past, Present and Feared Future

How Much Time Actually Passes in the ‘Palm Springs’ Time Loop?

Best Movies on Amazon Prime

Best Movies on HBO Max

Best Movies on Disney+

12 Best New Movies on Netflix: April 2021’s Freshest Films to Watch

Best Movies on Peacock

Thanks to John Early, It’s Time for ‘Clockwatchers’ to Become a Cult Classic

Venice Film Festival: Netflix’s ‘The Hand of God’ Review

Venice Film Festival Review: Netflix’s ‘The Power of the Dog’ by Jane Campion

Venice Film Festival: Netflix’s ‘The Lost Daughter’ Review, a Film by Maggie Gyllenhaal

HBO’s ‘Scenes from a Marriage’ Is An Acting Masterclass

Netflix’s ‘7 Prisoners’ Is a Harrowing Tale of Modern Slavery

Best Movies on Paramount+, Updated for March 2022

Stream It Or Skip It: ‘Luck’ on Apple TV+, A Heartfelt Launch to John Lasseter’s Skydance Animation

‘White Noise’ Venice Film Festival Review: Noah Baumbach Sends Out A Signal Of Sincerity Amidst A Cloud Of Atmospheric Dread

‘Pearl’ Review (Venice Film Festival 2022): Ti West’s Horror Prequel Improves Upon Its Predecessor ‘X’

‘Don’t Worry Darling’ Movie Review (Venice Film Festival 2022): Olivia Wilde’s High-Concept Thriller Is ‘Black Mirror’ For The Girlboss Set

‘Blonde’ Movie Review (Venice Film Festival 2022): Ana de Armas Turns In A Bravura Performance as Marilyn Monroe In This Dark Biopic Destined For Divisiveness

‘Copenhagen Cowboy’ Review (Venice Film Festival 2022): Nicolas Winding Refn’s Netflix Series is Maximalist Mythologizing in Overdrive

Stream It Or Skip It: ‘Broad Peak’ on Netflix, A Mountain Climbing Movie Not Worth Summiting

Stream It Or Skip It: ‘A Chiara’ on Hulu, A Gritty Italian Coming-of-Age Tale

Stream It Or Skip It: ‘The Descent’ on Paramount+, A Dive into Cave Horror That’s Still a Scream

Stream It Or Skip It: ‘The Perfumier’ on Netflix, A Thriller About Scent with No Sensibility

Stream It Or Skip It: ‘Catherine Called Birdy’ on Amazon Prime Video, A Medieval Coming-of-Age Story Built for Today’s Teens

Stream It Or Skip It: ‘Significant Other’ on Paramount+, A Sci-Fi Thriller That Wastes Two Good Performances on an Insignificant Story

Stream It Or Skip It: ‘See for Me’ on Hulu, A Home Invasion Thriller with More Than Meets the Eye

Stream It Or Skip It: ‘Aftershock: Everest and the Nepal Earthquake’ on Netflix, A Docuseries That Should Just Be a Feature

Every ‘Amityville Horror’ Movie, Ranked: How to Watch Them All

Stream It Or Skip It: ‘Matriarch’ on Hulu, A Chilling Cocktail of Body and Folk Horror

Stream It Or Skip It: ‘Argentina 1985’ on Amazon Prime Video, A Rousing Pro-Democracy Legal Drama

Stream It Or Skip It: ‘The Chalk Line’ on Netflix, A Creepy Kid Thriller with an Outline Drawn Too Lightly

Stream It Or Skip It: ‘A Tree of Life: The Pittsburgh Synagogue Shooting’ on HBO Max, An Undaunted Look at Living with American Antisemitism

The 11 Best Horror Movies Based on True Stories

Stream It Or Skip It: ‘Cici’ on Netflix, A Modest Turkish Meta-Movie

Stream It Or Skip It: ‘The Wonder’ on Netflix, A Spiritual Thriller Featuring a Divine Florence Pugh

Stream It Or Skip It: ‘Don’t Leave’ on Netflix, A Time-Jumping Turkish Drama About Romance Found and Lost

Stream It Or Skip It: ‘A Christmas Story Christmas’ on HBO Max, A “Legacyquel” That Brings the Holiday Cheer

Stream It Or Skip It: ‘Dual’ on Hulu, A Delicious Double Helping of a Dynamite Karen Gillan

Stream It Or Skip It: ‘The Swimmers’ on Netflix, A Harrowing Refugee Drama Shoehorned into an Inspirational Sports Tale

Greta Gerwig’s ‘Lady Bird’ Deserves To Become Cinematic Thanksgiving Canon

Stream It Or Skip It: ‘The Immaculate Room’ on Hulu, A Single-Location Thriller That Puts a Couple Through the Emotional Ringer

Stream It Or Skip It: ‘Gone in the Night’ on Hulu, A Couples’ Cabin Getaway That Should Get Lost in the Woods

Stream It Or Skip It: ‘The Marriage App’ on Netflix, An Argentine Rom-Com Gamifying Couples’ Therapy

Stream It Or Skip It: ‘Burning Patience’ on Netflix, A Tale of Epistolary Love Featuring Poet Pablo Neruda

Stream It Or Skip It: ‘God’s Crooked Lines’ on Netflix, A Twisty Murder Mystery Set Inside an Asylum

Stream It Or Skip It: ‘The Volcano: Rescue from Whakaari’ on Netflix, A Documentary About Escaping Natural Disaster That’s Lacking Fire

Stream It Or Skip It: ‘Collide’ on Hulu, A Calamitous Pile-Up Of Dramatic Clichés

Stream It Or Skip It: ‘Sharp Stick’ on Hulu, A Refreshingly Frank and Forward Coming-of-Age Comedy for Late Bloomers

Stream It Or Skip It: ‘Last Looks’ on Hulu, A Hollywood Whodunit With Lo-Fi Charms

Stream It Or Skip It: ‘The Invitation’ on Netflix, A Horror Film Where the Frights Run in the Family

Stream It Or Skip It: ‘Sick’ on Peacock, A Slasher Film for the COVID Era That’s Also Not Worth the Risk

Stream It Or Skip It: ‘Mrs. Harris Goes to Paris’ on Peacock, A Nicecore Fairytale with Deceptive Depth

Stream It Or Skip It: ‘Paris, 13th District’ on Hulu, A Love Story Depicting the City of Light in a New Light

Stream It Or Skip It: ‘The Pez Outlaw’ on Netflix, A True Crime Story Sweeter Than Candy

Stream It Or Skip It: ‘Stromboli’ on Netflix, A Volcano-Set Drama Lacking Heat or Explosiveness

Stream It or Skip It: ‘The Storied Life of A.J. Fikry’ on Hulu, a Literary Page-Turner That Becomes a Cinematic Head-Scratcher

Stream It or Skip It: ‘Something in the Dirt’ on Hulu, a Movie That Feels as Crazy as Conspiracy Rabbit-Holes Are

Stream It Or Skip It: ‘Re/Member’ on Netflix, A Redundant Teen Time Loop Horror Flick

Stream It Or Skip It: ‘Infinity Pool’ on VOD, A Horrifying Satire of the Corrupt Rich for the Sickos Among Us

Stream It Or Skip It: ‘All That Breathes’ on HBO Max, A Climate Change Doc Whose Unique Vision Really Takes Flight

Stream It Or Skip It: ‘Slayers’ on Hulu, A Social Media Era Vampire Tale

Stream It Or Skip It: ‘Spin Me Round’ on Hulu, A Delightful Comic Showcase For Aubrey Plaza and Alison Brie

Stream It Or Skip It: ‘Sin Eater’ on Hulu, A Jaw-Dropping Exposé of a Major Hollywood Power Player

Stream It Or Skip It: ‘Still Time’ on Netflix, A Workaholic Fable Where Time Literally Flies

Stream It Or Skip It: ‘Noise’ on Netflix, A Quietly Building Sonic Thriller

Stream It Or Skip It: ‘In His Shadow’ on Netflix, A Mythically-Tinged Tale of Brothers Battling in the Banlieues

Stream It Or Skip It: ‘Dragged Across Concrete’ on Netflix, A Cop Thriller Unbothered by Political Correctness Concerns

Stream It Or Skip It: ‘I See You’ on Netflix, A Generic Home Invasion Flick With One Good Narrative Gambit

Stream It Or Skip It: ‘Johnny’ on Netflix, A Graceful Buddy Movie Between a Clergyman and an Ex-Con

Stream It Or Skip It: ‘Creed III’ on VOD, An Explosive Head-to-Head Matchup of Two Gifted Actors

Stream It Or Skip It: ‘Chupa’ on Netflix, Spielberg Lite Done Right

Stream It Or Skip It: ‘Praise This’ on Peacock, A Family-Friendly Story of Jesus Jams That Actually Rocks

Stream It Or Skip It: ‘On a Wing and a Prayer’ on Amazon Prime Video, A Familiar Faith-Based Tale That Doesn’t Take Off

Stream It Or Skip It: ‘Oh Belinda’ on Netflix, A Creative Escape from Method Acting Madness

Stream It Or Skip It: ‘Rhino: Ukrainian Godfather’ on VOD, A Thrilling Crime Drama with the Best Extended “Oner” Shot in Years

Stream It Or Skip It: ‘The Offering’ on Hulu, A Hackneyed Tale of a Hasidic Haunting

Stream It Or Skip It: ‘Quasi’ on Hulu, A Half-Baked Hunchback Comedy from Broken Lizard

Stream It Or Skip It: ‘Little Richard: I Am Everything’ on VOD, A Biodoc As Vibrant As Its Subject

Stream It Or Skip It: ‘There There’ on Hulu, A Talky Compendium of Short Scenes with a Clever Visual Trick

Stream It Or Skip It: ‘Both Sides of the Blade’ on Hulu, A Fiery French Love Triangle That Cuts And Draws Blood

Stream It Or Skip It: ‘Alone at Night’ on Hulu, A COVID Horror Film That Packs More Stars Than Scares

Stream It Or Skip It: ‘Bar Fight!’ on Hulu, A Clash of Couples as Flat as a Day-Old Beer

Stream It Or Skip It: ‘Saint Omer’ on Hulu, A Masterpiece of Maternal Drama

Stream It Or Skip It: ‘Slash/Back’ on Hulu, A Kid-Centered Creature Feature Set in an Inuit Community

Stream It Or Skip It: ‘Kathal — A Jackfruit Mystery’ on Netflix, An Indian Police Investigation Gone Silly and Somber

Stream It Or Skip It: ‘American Murderer’ on Hulu, A Scammer Story That Turns Criminal and Campy

Stream It Or Skip It: ‘Broker’ on Hulu, An Adoption Drama Asking Tough and Touching Questions About Family

Stream It Or Skip It: ‘The Year I Started Masturbating’ on Netflix, A Raucous Romp About Discovering Pleasure

Stream It Or Skip It: ‘Shooting Stars’ on Peacock, A Basketball Origin Story About More Than Just LeBron James

Stream It Or Skip It: ‘Baby Ruby’ on Hulu, A Genre-Confused Look at Maternal Misery

Stream It Or Skip It: ‘Burden of Proof’ on Max, An Uncommonly Reflective True Crime Docuseries

All A24 Movies Ranked

Stream It Or Skip It: ‘Seasons’ on Netflix, A Romantic Drama That Follows a Familiar Cycle

Stream It Or Skip It: ‘The Tutor’ on Netflix, A Cat-and-Mouse Potboiler That Doesn’t Understand the Assignment

Stream It Or Skip It: ‘Hotel Artemis’ on Max, A Structure with Many Stories and High Vacancy

Stream It Or Skip It: ‘The League’ on VOD, A Negro League History That Covers All Its Bases

Stream It Or Skip It: ‘Happiness for Beginners’ on Netflix, A Camping Comedy That Should Take a Hike

Stream It Or Skip It: ‘Smoking Causes Coughing’ on Hulu, An Crazy Comic Caper with Atypical Avengers

‘Arctic Void’ Ending Explained: Who’s Running This Test?

Stream It Or Skip It: ‘Missing: The Lucie Blackman Case’ on Netflix, A True Crime Tale that Proves a Curious Case to Watch

Stream It Or Skip It: ‘Poisoned’ on Netflix, A Stomach-Churning Exposé of America’s Lacking Food Safety

Stream It Or Skip It: ‘Zom 100: Bucket List of the Dead’ on Netflix, A Zom-Com with Aplomb

Stream It Or Skip It: ‘Enys Men’ on Hulu, A Tale of Isolation Giving Folk Horror A New Sound

Stream It Or Skip It: ‘The Murderer’ on Netflix, A Multicultural Mystery Full of Twists and Turns

Stream It Or Skip It: ‘Today We’ll Talk About That Day’ on Netflix, A Melodramatic Tale of Cross-Class Romance

Stream It Or Skip It: ‘10 Days of a Bad Man’ on Netflix, Two Turkish Mysteries With No Delight

Stream It Or Skip It: ‘How to Blow Up a Pipeline’ on Hulu, A Political Manifesto Turned Dynamite Heist Thriller

Stream It Or Skip It: ‘El Conde’ on Netflix, An Examination Of Pinochet’s Final Days But Make It A Vampire Movie

Stream It Or Skip It: ‘Rotting in the Sun’ on MUBI, A Mystery That Lets It All Hang Out

Stream It Or Skip It: ‘The Black Book’ on Netflix, A Revenge Thriller from the Streets of Nigeria

Stream It Or Skip It: ‘Sanctuary’ on Hulu, An Exemplary and Electrifying Erotic Thriller

‘Aloha’ Had Emma Stone Apologizing and Nearly Got Cameron Crowe Canceled — But This Hawaii-Set Rom-Com Is Not Misbegotten, Just Misunderstood

Stream It Or Skip It: ‘Reptile’ on Netflix, A Perplexing Police Procedural

Stream It Or Skip It: ‘Nowhere’ on Netflix, A Dystopian Tale of Solo Survival at Sea

Stream It Or Skip It: ‘The Burial’ on Amazon Prime Video, A ‘90s-Set Legal Drama That Means Business

Stream It Or Skip It: ‘Nocebo’ on Hulu, One Mother of a Horror Film

Stream It Or Skip It: ‘Ijogbon’ on Netflix, A Nigerian Fable Centered Around Another Set of Uncut Gems

Stream It Or Skip It: ‘Crypto Boy’ on Netflix, An Old-Fashioned Drama About New-Fangled Technology

Stream It Or Skip It: ‘Flashback’ on Netflix, A Short Film In Need of Feature Expansion

Stream It Or Skip It: ‘No Accident’ on Max, A Trial to Hold Charlottesville Rally Participants Accountable

Stream It Or Skip It: ‘Yellow Door: ‘90s Lo-fi Film Club’ on Netflix, The Origin Story of Bong Joon-ho

Stream It Or Skip It: ‘Once Upon a Star’ on Netflix, A Sappy and Sincere Look at Thailand’s Cinematic History

Stream It Or Skip It: ‘This Closeness’ on MUBI, A Gen Z-Tinged Take on the Erotic Drama

Stream It Or Skip It: ‘AGGRO DR1FT’ on EDGLRD, An Avant-Garde and Aggravating Glimpse at Cinema’s Future

Stream It Or Skip It: ‘The Stranger’ on Hulu, A Quibi Series Turned Questionable Feature Film

Stream It Or Skip It: ‘Wicked Little Letters’ on Netflix, A Twee Twentieth Century True Crime Tale in a British Town

Stream It Or Skip It: ‘Janet Planet’ on VOD, A Quintessential and Quietly Revelatory Mother-Daughter Movie

Stream It Or Skip It: ‘Mission: Cross’ on Netflix, A Marriage and Mission You Should Choose Not to Accept

Stream It Or Skip It: ‘The Beast’ on Criterion Channel, A Cryptic Triptych About Fear and Love

Stream It Or Skip It: ‘Divinity’ on Shudder, A Future Cult Classic Sci-Fi Flick Endorsed by Steven Soderbergh

Stream It Or Skip It: ‘Mothers’ Instinct’ on VOD, A Waste of Two Oscar Winners in a Confused Melodrama-Thriller

‘Maria’ Venice Film Festival Review: Pablo Larraín Ends His Iconic Women Trilogy on a Low Note

‘Disclaimer’ Venice Film Festival Review: Alfonso Cuarón’s Apple TV+ Miniseries Gets Lost in Technical Proficiency

‘Baby Invasion’ Venice Film Festival Review: Harmony Korine Doesn’t Level Up With His Latest Video Game-Inspired Film

‘Wolfs’ Venice Film Festival Review: It’s the George Clooney/Brad Pitt Show … And Little Else

‘Joker 2: Folie à Deux’ Venice Film Festival Review: This Jukebox Musical Plays The Great American Songbook For People Who Used to Shop at Hot Topic

Crooked Marquee (2017-)

I, Tonya, Foxcatcher, and Fallen Athletes of the ’90s

Lean on Pete and The Rider: Foreign Visions of a Diminished American West

Tribeca Report: High-Stakes Parenting

TIFF Report: The Addiction Obsession

TIFF Report: Political, Not Polemical

Marshall Shaffer Says Don’t Forget: Did You Wonder Who Fired the Gun?

Marshall Shaffer Says Don’t Forget: Custody

Tribeca Report: The Inaugural Critics’ Week

Tribeca Report: Here Comes Generation Z

What To Expect at Fantasia Festival 2019

Fantasia 2019 Report: At the Mercy of the Programmers

Fantasia 2019 Report: Let the Punishment Fit the Crime

TIFF Report: Keeping the Faith

Review: Temblores

Review: Queen of Hearts

Review: Feast of the Epiphany

Marshall Shaffer Says Don’t Forget: Los Reyes

Marshall Shaffer Says Don’t Forget: Jawline

Review: Run This Town

How Greta Gerwig’s Little Women Rejects A False Cinematic Choice

The Box Office Has Never Moved Past August 13, 2010

Miss Congeniality at 20: Still Sandra Bullock’s Crowning Glory

Thoughts on a Biden-Era Cinema

Bifurcating Bahrani: A Defense of the Filmmaker’s Moral Dramas

Why Young Actors Are Addicted to Addiction Movies

Marshall Shaffer’s Venice Film Festival 2021 Diary

Sundance 2022: Satellite (Screens) of Love

Marshall Shaffer’s True/False 2022 Diary

Reclaiming The Intern from the #GIRLBOSS Era

Annapurna Pictures at 10: Megan Ellison’s Trajectory Is Indie Film In Microcosm

Let’s Talk About the Insane Musical Moment in M3GAN

Bruce Almighty at 20: Hollywood’s One Spiritual Sensation

Crooked Marquee’s Favorite Movies, Performances, and More of 2023 (contributor)

The Delayed Revolution of Risky Business in Teen Movies

Slant (2017-)

Interview: Rosamund Pike Talks Hostiles and Career Post-Gone Girl

Interview: Daniela Vega on Her Breakout Role in A Fantastic Woman

Interview: François Ozon Talks Double Lover and Modern French Cinema

Interview: Sebastián Lelio on the Making of Disobedience

Interview: Xavier Beauvois on the Making of The Guardians

Interview: Xavier Legrand on Custody and Domestic Violence

Interview: Bo Burnham on Treating Eighth Grade Like a War Movie

Interview: Jeremiah Zagar on the Intimacy of We the Animals

Review: Operation Finale

Interview: Nick Kroll on Operation Finale and Embracing Drama

Interview: Jacques Audiard on the Making of The Sisters Brothers

Interview: Melissa McCarthy on Lying to Achieve Truth in Can You Ever Forgive Me?

Interview: Richard E. Grant on Morality and Can You Ever Forgive Me?

Interview: Hirokazu Kore-eda on the Invisible People of Shoplifters

Interview: Alice Rohrwacher on Happy as Lazzaro and the Past in the Present Tense

Interview: Barry Jenkins on If Beale Street Could Talk and Generational Joy

Interview: Mike Leigh on Peterloo and the Currency of Period Films

Interview: Claire Denis and Robert Pattinson on the Making of High Life

Interview: Mary Harron on Charlie Says and Correcting the Record on Manson

Interview: Joe Talbot and Jimmie Fails on the Friendship Behind The Last Black Man in San Francisco

Interview: Jack Reynor on His Reverse Hero’s Journey in Midsommar

Interview: Lynn Shelton on Honing Her Process for Sword of Trust

Interview: Julius Onah and Kelvin Harrison Jr. Talk Luce’s Ambiguities

Interview: Lauren Greenfield on The Kingmaker and Threats to Democracy

Interview: Marielle Heller on Mr. Rogers and A Beautiful Day in the Neighborhood

Interview: Céline Sciamma on Redefining the Muse with Portrait of a Lady on Fire

Interview: Eddie Redmayne on The Aeronauts and Accessing Physicality

Interview: Ladj Ly on Sounding an Alarm Bell with Les Misérables

Interview: Kantemir Balagov on Avoiding Artistic Stagnation with Beanpole

Interview: Lesley Manville and Liam Neeson on Working Together on Ordinary Love

Interview: Josh O’Connor on Hope Gap and Inhabiting the Physicality of His Characters

Interview: Kleber Mendonça Filho and Juliano Dornelles on Bacurau’s Politics

Interview: Eliza Hittman on the Poetic Odyssey of Never Rarely Sometimes Always

Interview: Rob Morgan on the Long Ride to Leading Man Status in Bull

Interview: Odessa Young on the Intuitiveness That Fuels Shirley

Interview: Shannon Murphy on Charting the Wild Emotional Terrain of Babyteeth

Interview: Bill and Turner Ross on the Constructions of Bloody Nose, Empty Pockets

Interview: Seth Rogen on An American Pickle and Reconnecting with His Roots

Interview: Kate Lyn Sheil on Calibrating Her Performance in She Dies Tomorrow

Interview: Miranda July on Kajillionaire and the Malleability of Movies

Interview: Kirsten Johnson on Expanding Time with Dick Johnson Is Dead

Interview: Cooper Raiff Talks Shithouse, Nostalgia, and Being There for Others

Interview: Garrett Bradley on Exploring Human Dimensionality in Time

Interview: Joyce Chopra on Creating a Believable Teen Movie with Smooth Talk

Interview: Colman Domingo on Ma Rainey’s Black Bottom, Euphoria, & More

Interview: Richard Kelly on Southland Tales As an Ever-Evolving Work in Progress

Interview: Ephraim Asili on The Inheritance’s Insider View of Collectivism

Interview: Oliver Hermanus on Moffie and the Making of Men in South Africa

Interview: Ben Sharrock on Challenging Labels with Refugee Dramedy Limbo

Interview: Theo Anthony on All Light, Everywhere and Undermining Authority

Interview: Quentin Dupieux on Channeling the Surreal and Stupid in Mandibles

Interview: Tom McCarthy on How Stillwater’s Consequence Is in the Details

Interview: Rebecca Hall on The Night House, Passing, and Existing in Gray Areas

Interview: Dan Stevens on Finding the Man in the Machine for I’m Your Man

Interview: Julia Ducournau on Building Her Own Modern Mythology with Titane

The Top 25 Movies of 2023 (contributor)

Interview: Wim Wenders on the Philosophies Guiding Anselm and Perfect Days

The Iron Claw Review: Hard Knocks, In and Out of the Wrestling Ring

Interview: Christian Friedel on Connecting with the Disconnects in The Zone of Interest

Interview: Sean Durkin on Depicting and Dealing with Emotion in The Iron Claw

Interview: Felipe Gálvez on The Settlers and Criticizing the Western from Within

Interview: John Sayles on Capturing Past and Present in Lone Star

Interview: Lila Avilés on Charting the Language of Family in Tótem

Girls State Review: Apple’s Documentary Sequel Celebrates Sisters Doin’ It for Themselves

Interview: Molly Manning Walker on Communicating Pleasure in How to Have Sex

I Saw the TV Glow Review: A Revelatory Tale of Awakening Bogged Down By Genre Retreading

A Different Man Review: Aaron Schimberg’s Dark Comedy Fearlessly Faces Disability Narratives

Interview: Mstyslav Chernov on Connecting His Style to Ukraine’s Story in 20 Days in Mariupol

Interview: Radu Jude on Do Not Expect Too Much from the End of the World

Interview: Alice Rohrwacher and Josh O’Connor on the Mysteries of La Chimera

Interview: George MacKay on Exploring Inner Identity in The Beast and Femme

Interview: Bertrand Bonello on The Beast, Images of Cinema, and Incels

Interview: Ken Loach on The Old Oak, His Career, and Casting Light on the Abandoned

Interview: David and Nathan Zellner on Human and Animal Instincts in Sasquatch Sunset

Interview: Hamaguchi Ryûsuke on Music and Movement in Evil Does Not Exist and Gift

Interview: Bill Ross IV and Turner Ross on Fueling Drama with Gasoline Rainbow

Interview: Richard Linklater on Hit Man, Playing with Identities, Working with Glen Powell, & More

Interview: Chris Nash on Taking Stylistic Risks in Horror with In a Violent Nature

Interview: Franka Potente and Tom Tykwer on the Enduring Energy of Run Lola Run

‘Ghostlight’ Review: An Illuminating Look at Performance, Theatrical and Otherwise

Interview: Gina Gershon on the Love Story and Legacy of the Wachowskis’ ‘Bound’

Interview: Léa Drucker on Collaborating with Catherine Breillat on ‘Last Summer’

Interview: Catherine Breillat on the Layers and Transgressions of ‘Last Summer’

Interview: Veronika Franz and Severin Fiala on the Feminism of ‘The Devil’s Bath’

‘Longlegs’ Review: Oz Perkins’s Riveting, If Rarely Revelatory, Serial Killer Chiller

Interview: Oz Perkins and Maika Monroe on ‘Longlegs’ and Their Freeing Collaboration

Interview: Thelma Schoonmaker and David Hinton on ‘Made in England’ and the Archers’ Legacy

Interview: Sean Wang on Applying Cinematic Language to the Internet in ‘Dìdi’

Interview: India Donaldson on ‘Good One’ and Playing with the Rules of Perspective

Interview: Nathan Silver, Carol Kane, and Jason Schwartzman on ‘Between the Temples’

‘The Order’ Review: A Sturdy Crime Thriller That Confronts White Nationalist Terror

‘Babygirl’ Review: Halina Reijn’s Erotic Drama Puts the “Screw” in “Screwball”

‘The Room Next Door’ Review: Almodóvar’s Two-Hander Lives Intimately with Thoughts of Death

Interview: Sebastian Stan and Adam Pearson on the Transformations of ‘A Different Man’

‘The Brutalist’ Review: Brady Corbet’s American Epic Is Built to Weather the Ages

Interview: Gregg Araki on the Teen Apocalypse Trilogy’s Generation-Defying Sense of Doom

‘Happyend’ Review: It’s Only a Teenage Wasteland

‘April’ Review: A Matter of Life and Death

Interview: Pascal Plante on Subverting True Crime Tropes with ‘Red Rooms’

Slashfilm (2017-2024)

‘Battle of the Sexes’ Review: It’s Steve Carell vs. Emma Stone in an All-Too-Timely Showdown [TIFF]

‘Breathe’ Review: Andrew Garfield Astounds in Andy Serkis’ Directorial Debut [TIFF]

‘Downsizing’ Review: Matt Damon Shrinks Himself in Alexander Payne’s Sci-fi Satire [TIFF]

‘Chappaquiddick’ Review: Jason Clarke Plays Ted Kennedy in an Absorbing, Maddening Drama [TIFF]

‘Kings’ Review: Halle Berry and Daniel Craig Lead a Well-Intentioned Misfire [TIFF]

‘On Chesil Beach’ Review: Dominic Cooke’s Adaptation Is Dead on Arrival [TIFF]

‘Hostiles’ Review: Christian Bale Leads a Weary and Grim Western From Scott Cooper [TIFF]

‘First Reformed’ Review: Paul Schrader Crafts a Modern Masterpiece About Faith [TIFF]

‘Jim and Andy: The Great Beyond’ Review: A Revelatory Treasure Trove of Comedic Brilliance [TIFF]

‘Unicorn Store’ Review: Brie Larson’s Directorial Debut is a Charming, Honest Film [TIFF]

‘Foxtrot’ Review: Tragedy and Comedy Intermingle in One of the Best Movies of 2017 [TIFF]

‘Let the Corpses Tan’ Review: A Brain-Breaking (For Better and Worse) Midnight Movie [TIFF]

‘Lean on Pete’ Review: A Striking, Shattering and Altogether Sensational Journey [TIFF]

‘The Florida Project’ Director Sean Baker on Finding the Humor in Tragedy [Interview]

How ‘Twin Peaks’ Prepared Laura Dern for ‘Star Wars’

2017 Was a Bad Year for Cinema’s “Tortured Artists”

The Unpopular Opinion: ‘Inherent Vice’ is Top Tier Paul Thomas Anderson

The Streamer’s Guide to Sundance 2018: What Non-Festgoers Can Watch at Home

How Jennifer Lawrence Reclaims Power in ‘Red Sparrow’

The Unpopular Opinion: ‘The Darjeeling Limited’ is Wes Anderson’s Best Film

‘Back Roads’ Review: Alex Pettyfer Makes a Promising Directorial Debut [Tribeca]

‘Disobedience’ Review: Rachel McAdams Thrillingly Rages Against the Patriarchal Machine [Tribeca]

‘To Dust’ Review: A Uniquely Humorous Hasidic Jewish Story of Death and Life [Tribeca]

Bradley Cooper and Robert DeNiro Discuss ‘A Star Is Born,’ Their Collaboration and More at Tribeca

‘Maine’ Review: A Wilderness Journey About Neither the Destination Nor the Journey [Tribeca]

‘Song of Back and Neck’ Review: Toby from ‘The Office’ Laughs Through the Pain [Tribeca]

The Streamer’s Guide to the 2018 Toronto International Film Festival: What Non-Festgoers Can Watch at Home

‘Monsters and Men’ is an Uneven but Potent Drama About Police Violence [TIFF]

‘Beautiful Boy’ Provides a Moving Showcase for Timothée Chalamet and Steve Carell [TIFF]

‘Ben Is Back’ Haunts As It Shows the Ripple Effect of Addiction [TIFF]

‘Climax’ Review: Gaspar Noé’s Latest Dances Deliriously Toward Death [TIFF]

‘mid90s’ Review: Jonah Hill’s Directorial Debut is a Masterful Coming-of-Age Tale [TIFF]

‘Everybody Knows’ Review: Javier Bardem and Penélope Cruz Lead a Thrilling, If Impersonal, Kidnapping Drama [TIFF]

‘Gloria Bell’ Review: Julianne Moore Charms in a Fun but Melancholy Romance [TIFF]

‘Assassination Nation’ Review: A Fascinating Tale of Online Justice Falters in Its Second Half [TIFF]

‘What They Had’ Review: Michael Shannon Dominates a Pleasant, If Unremarkable, Debut Feature [TIFF]

‘Boy Erased’ Review: Lucas Hedges Devastates in Conversion Therapy Drama [TIFF]

‘Maya’ Review: Mia Hansen-Løve Falters Slightly With Familiar Drama [TIFF]

‘The Hummingbird Project’ Review: An Engaging Financial Thriller Stops Just Short of Greatness [TIFF]

‘Can You Ever Forgive Me?’ Review: Melissa McCarthy Gets More Real Than Ever as a Legendary Fake [TIFF]

‘Teen Spirit’ Review: Max Minghella’s Directorial Debut Lacks Pop [TIFF]

‘Dogman’ Review: A Morality Tale We Deserve [TIFF]

‘Peterloo’ Review: A Different Kind of Historical Epic [TIFF]

‘Non-Fiction’ Review: Olivier Assayas’ Latest Film is a Droll Delight [TIFF]

‘Birds of Passage’ Review: A Thrilling and Refreshing Take on the Drug Trade [TIFF]

The Streamer’s Guide to the 2018 New York Film Festival: What Non-Festgoers Can Watch at Home

‘The Favourite’ is a Sublime Send-Up of Royal Power Games [NYFF]

‘Her Smell’ Review: Alex Ross Perry’s Elisabeth Moss-Starring Punk Movie Smacks of Greatness [NYFF]

‘American Dharma’ Review: Errol Morris Takes on Steve Bannon in His Newest Documentary [NYFF]

‘The Ballad of Buster Scruggs’ Showcases the Wide-Ranging Brilliance of the Coen Brothers [NYFF]

’22 July’ Review: Paul Greengrass Tackles a Different Kind of Terrorism

Writer/Director Jonah Hill and the Cast of ‘mid90s’ on Bringing a Skateboarding Crew to Life On Screen [Interview]

7 Things We Learned About ‘The Favourite’ from Emma Stone, Rachel Weisz and Yorgos Lanthimos [Interview]

Joe Alwyn on ‘The Favourite’ and His Busy 2018 in Movies [Interview]

Paul Lieberstein on Directing ‘Song of Back and Neck’ and Not Being Invited to ‘The Office’ Reunion on ‘SNL’ [Interview]

The Streamer’s Guide to Sundance 2019: What Non-Festgoers Can Watch at Home

“Hail Satan?” Review: A Blasphemous Ball of a Documentary

‘The Art of Self-Defense’ Director Riley Stearns Tells Us All About That Shocking Ending [Spoiler Interview]

‘Mosul’ Director Matthew Michael Carnahan on Filming His Directorial Debut in a Language He Didn’t Speak and in a Foreign Nation [Interview]

The Streamer’s Guide to the 2019 Toronto International Film Festival: What Non-Festgoers Can Watch at Home

‘The Laundromat’ Review: Steven Soderbergh Delivers an Uneven but Undeniably Ambitious Slice of Modern History [TIFF]

‘Guns Akimbo’ Review: A Gaming Satire That Indulges in What It Critiques [TIFF]

‘Jojo Rabbit’ and ‘A Hidden Life’ Offer Alternate and Equally Compelling Takes on Fighting Back Against Nazis [TIFF]

Taking ‘The Goldfinch’ from Page to Screen with Editor Kelley Dixon

“Now Is Our Time”: How Global Female Directors at TIFF 2019 Subverted Everything

The Unsung Gems of TIFF 2019: Three Under-the-Radar Films You Should Know About

The Streamer’s Guide to the 2019 New York Film Festival: What Non-Festgoers Can Watch at Home

‘Liberté’ Review: A Prolonged Graphic Experience That Overstays Its Welcome [NYFF]

‘Young Ahmed’ Review: A Realistic But Uneven Look at the Effects of Extremism [NYFF]

‘Varda by Agnès’ Review: A Fittingly Vibrant Sendoff to a Master Filmmaker [NYFF]

‘The Moneychanger’ Review: A Slight Political Drama with a Few Delights [NYFF]

‘Wasp Network’ Review: Even Recut, It’s Still a Clunker [NYFF]

10 Lessons From Watching the Entire 2019 New York Film Festival Main Slate

‘Motherless Brooklyn’ Review: A Beguiling Riff on ‘Chinatown’ for New York City [NYFF]

‘First Cow’ Review: Kelly Reichardt’s Intriguing Tale of Early American Capitalism [NYFF]

‘Waves’ Spoiler Interview: Writer/Director Trey Edward Shults on the Film’s Startling Second Half

‘Little Joe’ Review: A Disquieting and Precise Blend of Sci-Fi, Horror, and Human Drama

‘Little Joe’ Director Jessica Hausner on Combining Genres and Maintaining a Personal Stamp [Interview]

‘Knives and Skin’ Review: A Neon-Soaked Domestic Drama That Flirts Effectively with Genre

‘Knives and Skin’ Director Jennifer Reeder on Reworking Problematic Genre Elements [Interview]

The 10 Biggest, Craziest and Most Important Cinematic Career Reinventions of the Decade

‘Invisible Life’ Review: An Unabashed, Affecting Brazilian Melodrama

The Streamer’s Guide to January 2020: What to Watch at Home to Prepare For This Month’s Theatrical Releases

The Streamer’s Guide to Sundance 2020: What Non-Festgoers Can Watch at Home

‘Parasite’ Editor Jinmo Yang on Subtlety and the Time Director Bong Joon-ho Apologized to Him [Interview]

The Streamer’s Guide to February 2020: What to Watch at Home to Prepare For This Month’s Theatrical Releases

‘The Assistant’ Director Kitty Green on the Banality of Evil in #MeToo Workplace Drama [Interview]

‘The Whistlers’ Director Corneliu Poromboiu on His Wild New Crime Caper [Interview]

The Streamer’s Guide to March 2020: What to Watch at Home to Prepare For This Month’s Theatrical Releases

Off-Broadway’s ‘All the Natalie Portmans’ Showed the Power and Limitations of On-Screen Identification

How ‘First Cow’ Rewrites the Rules of the American Western For the Better

Have the Directors of ‘Boys State’ Predicted the Future of American Politics?

‘Apples’ Review: A Pandemic Movie, But Make It Greek Weird Wave [TIFF 2020]

‘New Order’ Review: This Class Conflict Makes ‘Parasite’ Look Tame [TIFF 2020]

‘Good Joe Bell’ Review: Mark Wahlberg’s Anti-Bullying Drama Has Nice Message, Muddled Execution [TIFF 2020]

‘Summer of 85’ Review: Young Love Burns Brighter Than Dark Noir [TIFF 2020]

‘The Water Man’ Review: David Oyelowo Makes His Directorial Debut With a Wholesome Adventure [TIFF 2020]

‘Night of the Kings’ Review: Neon’s Latest Acquisition Title is a Thrilling Ode to Storytelling’s Power [TIFF 2020]

The Inside Story of How NYFF 2020 Became America’s First Big Pandemic-Era Film Festival

‘French Exit’ Review: The Discreet Smarm of the Bourgeoisie [NYFF]

A Tall Task for Short Films: How Festivals Are Adapting to a Changing Landscape for Viewers

2020 is the Year to Finally Nominate a Documentary for Best Picture

America’s Dad Grows Up: Exploring the “New” Tom Hanks Heroes and How They Reflect Changing Times

How the Tribeca Festival Reflects the Frustration, Exhilaration and Innovation of Post-Pandemic Moviegoing

Movies To Watch If You Loved The Green Knight

Every Darren Aronofsky Movie Ranked From Worst To Best

Dune Review: Denis Villeneuve Delivers On Sensational And Spiritual Spectacle [Venice 2021]

Last Night In Soho Review: Edgar Wright Evolves, If Not Improves, His Familiar Form [Venice 2021]

Halloween Kills Review: A Compelling Sequel That Proves There’s More To Mine From Michael Myers [Venice 2021]

The Last Duel Review: Prestige Period Filmmaking, Stunning Swordfights, And Piercing Performances [Venice 2021]

Parallel Mothers Review: Director Pedro Almodóvar Gets Both Familiar And Evolutionary [Venice 2021]

Every Denis Villeneuve Movie Ranked From Worst To Best

Every Edgar Wright Movie Ranked From Worst To Best

The Coen Brothers Movies Ranked Worst To Best

Kristen Stewart’s 14 Best Roles Ranked

TÁR Review: A Star Is Torn As Cate Blanchett’s Conductor Falls Tragically From Grace [Venice]

Bardo Review: Alejandro González Iñárritu’s Felliniesque Fantasy Falls Flat [Venice]

Bones And All Review: A Bloody Brilliant Tale Of Young Love On The Run [Venice]

The Whale Review: Brendan Fraser Shines In A Derivative Darren Aronofsky Film [Venice]

The Banshees Of Inisherin Review: Martin McDonagh’s Best Film Is Wordsmithing At Its Wisest [Venice]

Master Gardener Review: Paul Schrader’s Late Career Hot Streak Is In Full Bloom [Venice]

What We Learned About Film History From The Venice Film Festival

10 Movies To Watch If You Loved Netflix’s Blonde

All 8 Alejandro G. Iñárritu Movies, Ranked

The 18 Best Cate Blanchett Movies, Ranked

The 12 Best Tilda Swinton Movies, Ranked

The 12 Best Timothée Chalamet Movies, Ranked

Every Noah Baumbach Movie Ranked Worst To Best

Citadel Review: The Russo Brothers’ Spy Series Is A Bourne Ripoff With No Identity

The Crowded Room Review: Apple TV+’s Psychological Thriller Miscasts Tom Holland And Amanda Seyfried

Bird Box Barcelona Review: Netflix’s Bird-Brained Franchise Extension Falls Flat

Scrapper Review: A New Take On Social Realism Is Child’s Play For Charlotte Regan

Origin Review: Ava DuVernay’s Audacious Adaptation Loses The Thread

The Boys In The Boat Review: George Clooney’s Sports Drama Is Standard-Issue

Anyone But You Review: Glen Powell And Sydney Sweeney Star In Frisky, Fun Rom-Com

Bright Wall Dark Room (2017-)

Sex, Violence, and Spring Breakers

I Must Think of a New Life: On the Deliberate Duration of Judd Apatow’s Funny People

Eternal Sunshine of the Spotless May: Elaine May’s Discarded Women in A New Leaf and The Waverly Gallery

The Sense of an Ending: Billy Wilder’s Parting Shots as Auteurist Stamp

Little White Lies (2017-)

Why Baby Driver is the movie musical we’ve been waiting for

The Fourth Estate – first look review

The slippery stardom of Rachel McAdams

Film School Rejects (2017-2018)

Robert Pattinson: From Bedhead to Bushy Beard

How ‘A Ghost Story’ Completes a Texan Triptych on Time

He’s With The Band: Greg Barker on His Obama Administration Doc ‘The Final Year’

Vague Visages (2016-2020)

Binge Moviegoing: An 18 Hour Day at Fantastic Fest 2016

Fantastic Fest 2016: A Talk with Director Ana Lily Amirpour on Inspiration and ‘The Bad Batch’

Fantastic Fest 2016: Cannibalism and Competition – On ‘Toni Erdmann’ and ‘Raw’

Interview with Kelly Reichardt, Director of ‘Certain Women’

Houston Cinematic Arts Festival: Interview with Cinematographer Frederick Elmes

Knockin’ on Heaven’s Door: Analyzing Martin Scorsese’s ‘Silence’ as a Remake of His 1967 Debut

Vague Visages Is FilmStruck: Marshall Shaffer’s #FilmStruckFebruary

Interview with Eleanor Coppola, Director of ‘Paris Can Wait’

‘The Bling Ring,’ Recontextualized in Post-Election America

Fantasia 2017 Review: Federica Di Giacomo’s ‘Libera Nos’

Fantasia 2017 Wrap-Up: My Festival vs. Your Festival

TIFF 2017 Review (Wavelengths): Denis Côté’s ‘A Skin So Soft’

TIFF 2017 Review (Wavelengths): Lucien Castaing-Taylor and Verena Paravel’s ‘Caniba’

TIFF 2017 Review: Guillermo del Toro’s ‘The Shape of Water’

Dead Kennedys at TIFF 2017: The Rise of a New Zeitgeist

TIFF 2017 Capsule Reviews

Vague Visages Is FilmStruck: Marshall Shaffer on Michael Haneke’s ‘Benny’s Video’

“Well, Childhood’s Over” – Claiming Adulthood with Some Help from Greta Gerwig

Vague Visages Is FilmStruck: Marshall Shaffer’s #FilmStruckFebruary – The Beginning

Vague Visages Is FilmStruck: Marshall Shaffer on Agnès Varda’s ‘Mur murs’

Vague Visages Is FilmStruck: Marshall Shaffer on Valentine’s Day and a FilmStruck Wedding

Vague Visages Is FilmStruck: Marshall Shaffer on Paul Robeson

Vague Visages Is FilmStruck: Marshall Shaffer on Ingmar Bergman’s ‘Silence of God’ Trilogy

Vague Visages Is FilmStruck: Marshall Shaffer on FilmStruck’s ‘Black in America’ Collection

Five Films to See at Rendez-Vous with French Cinema 2018

TIFF 2018: Embracing the Oxymoronic – A Review of Jacques Audiard’s ‘The Sisters Brothers’

TIFF 2018: One Small Step – A Review of Damien Chazelle’s ‘First Man’

TIFF 2018: Interview With ‘Dogman’ Actor Marcello Fonte

NYFF 2018 Review: Paul Dano’s ‘Wildlife’

The Moon and the Kitchen: An Interview with ‘First Man’ Editor Tom Cross

NYFF 2018 Review: Claire Denis’ ‘High Life’

No Comfort Zone: An Interview with ‘Cold War’ Star Joanna Kulig

The Kids Aren’t Alright: A Preview of Rendez-Vous with French Cinema 2019

Tribeca Film Festival Review: Christoph Waltz’s ‘Georgetown’

Tribeca Film Festival Review: Mary Harron’s ‘Charlie Says’

Tribeca Film Festival Review: Tom Harper’s ‘Wild Rose’

BAMCinemaFest Review: Tayarisha Poe’s ‘Selah and The Spades’

BAMCinemaFest Review: Diana Peralta’s ‘De Lo Mio’

TIFF 2019 Review: On the Spiritual Strivings of Trey Edward Shults’ ‘Waves’

TIFF 2019 Review: ‘Knives Out’ Shows Rian Johnson Sharp as Ever

TIFF 2019 Review: James Mangold’s ‘Ford v Ferrari’ Provides an Old-School Adult Drama

Rendez-Vous with French Cinema 2020: Brief Encounters

Tribeca 2020 Documentary Round-Up: Pro Forma(t)

Interview: Kôji Fukada on the Mysteries of ‘A Girl Missing’

Movie Mezzanine (2015-2017)

Fantastic Fest Review: “Green Room”

Fantastic Fest Review: “Son of Saul”

Fantastic Fest Review: “The Witch”

Fantastic Fest Review: “The Club”

Interview: Davis Guggenheim of “He Named Me Malala”

How the Dardennes Inspired John Crowley’s “Brooklyn” (interview)

Josh Mond on “James White” and the Close-Up’s Comeback (interview)

Adam McKay: From “The Other Guys” to “The Big Short” (feature)

Sundance 2016 Dispatch: The Future of the “Sundance Film”

Sundance 2016: Hard Bodies, Soft Sells

The Best Films of Sundance 2016

SXSW 2016: Forward to the Past

SXSW 2016: Fingers on the Pulse

Sundance 2017 Dispatch: Connecting with the World

Sundance 2017 Dispatch: Three Distinct Love Stories

Sundance 2017 Wrap-Up

Indulging Mightily with Alex Ross Perry and the “Golden Exits” Cast

Breaking Standards with Julian Rosefeldt of “Manifesto”

A New Way of Telling Love Stories (interview with Drake Doremus, director of Newness)

Reviews published by Camel City Dispatch (2014-2015)

Film r/eview – The Skeleton Twins

r/view: Birdman

r/view – Listen Up Philip

r/view – Jon Stewart’s Rosewater

r/view – Laggies

r/view – The Theory of Everything

r/view – Wild

r/view – Possibly the Most Important Film of 2015 – “CitizenFour”

r/view – The Imitation Game

CCD Review – Selma

r/view- Two Oscar Nominated Films Open Friday in Camel City (Foxcatcher, Whiplash)

r/view – Boyhood

r/view – Two Days, One Night

r/view – Human Capital

r/view: Timbuktu & Still Alice

REVIEW: Fifty Shades of Grey

r/view- Opening Friday – Girlhood & Mr. Turner

r/view – Gett- The Trial of Viviane Amsalem & Ballet 422

r/view: Leviathan

r/view – It Follows

r/view – Kumiko, The Treasure Hunter – Deli Man – Wild Tales

Full Frame Film Fest – 2015

r/view – The Hunting Ground

Interview with UNCSA’s Brett Haley, Director of “I’ll See You In My Dreams”

r/view – Spotlight

Christian Science Monitor (2011)

A look at a classic: Charlie Chaplin in “Modern Times”

Midnight in Paris: movie review

Larry Crowne: blogger movie review

Submarine: blogger movie review

Horrible Bosses: blogger movie review

Conan O’Brien Can’t Stop: blogger movie review

Another Earth: Marshall and the Movies review

Want more Woody Allen after seeing ‘Midnight in Paris’? Check out ‘Small Time Crooks.’

Wake Forest University homepage

Unconventional class

Developing a Cannes-do attitude

Posts for syndication written at Premier Communications

Top films set in Boston (to promote The Heat)

Press releases worked on at The Academy of Motion Picture Arts and Sciences

The Academy to Screen Festival Favorite “Snowpiercer”

The Academy to Premiere New Digital Restoration of 1934 Best Picture “It Happened One Night”

The Academy To Screen Festival Standout “Whitey: United States Of America V. James J. Bulger”

Academic film writing

All About Amour on the Other Side of the Window (from Film Theory and Criticism)

Bad Apples Up on Top (from Political Sociology)

Jaws: Baby, There’s a Shark in the Water (from Great Directors)