Zama is a mordantly funny and relentlessly modernist critique of colonialism that makes no conclusions, ultimately resting on a scene of verdant nature not entirely…
A look at the work of John Williams outside of his greatest hits.
This month's excerpt from online magazine Bright Wall/Dark Room is an essay about home and "Little Women."
A brief history of "L.A. Noire," now available on the Nintendo Switch.
A look at "I, Tonya" from the perspective of a skating expert.
An interview with co-director Craig Ainsley about his short and a presentation of the film.
A look at the companion volume for "Justice League."
As soon as I heard that Jordan Peele's debut feature had the plot of an edgy indie romantic comedy but was in fact "a horror movie," I knew it was going to be terrific. There was just no way it couldn't be. I rarely feel this confident about a film sight-unseen, but as a longtime fan of Peele, it seemed clear that he knew exactly what his movie was about a deep level. "A black man meets his white girlfriend's parents for the first time; it's a horror movie" is the kind of pitch that might earn a delighted "I'm down, brother!" chuckle from the father of said white girlfriend, a brain surgeon played by Bradley Whitford who tells the hero Chris (Daniel Kaluuya) that he would vote for Obama a third time if he could. But for all its laughs, both subtle and broad—and for all its evident familiarity with crowd-pleasing yet grimly clever '80s horror comedies like "They Live!", "Fright Night," "Reanimator," "The People Under the Stairs," "The Hidden," "Child's Play" and other movies that people in their 30s and 40s saw multiple times at dollar theaters and drive-ins and on cable—"Get Out" is no joke. It made all as much money as it did because everyone who saw it, including the ones who only went because everyone else they knew had already seen it, instinctively sensed that it was observing this moment in American history and capturing it, not just for posterity's sake or for perverse entertainment value but as monument and warning.
A book excerpt from "Guillermo del Toro's 'The Devil's Backbone.'"
One of the best superhero films, in large part because the title character sincerely believes in values larger than any one person.
Hela and Valkyrie are unusual for Marvel and blockbuster movies in general. Both are messy, complicated figures not neatly fitting into the box of villain or potential love interest.