Donald Trump, ‘London Has Fallen’ and the So-Bad-It’s-Good Candidacy
“A once-pure appreciation of misplaced passion, the hallmark of so-bad-it’s-good entertainment has been capitalistically leveraged.”
“A once-pure appreciation of misplaced passion, the hallmark of so-bad-it’s-good entertainment has been capitalistically leveraged.”
“The extraordinary world of April and the Extraordinary World is no simple one, and it’s welcome that its worldview veers away from the simplistic.”
A Jeff Nichols Retrospective by Dylan Moses Griffin
A Series by Angelica Jade Bastién
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“It’s not a bad movie, but no matter how long it spends in the war zone, it still feels like a tourist.”
“Stephen Chow’s invigorating, irreverent, slapstick, but occasionally serious, comedy The Mermaid is an odd beast to pin down.”
A Jeff Nichols Retrospective by Dylan Moses Griffin
A Series by Angelica Jade Bastién
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Breaking the mold and raising his cinematic voice by embedding black intimacy in his movies, Coogler, in Creed and Fruitvale Station, uses mothers, girlfriends, children, squads of friends and Michael B. Jordan to create community.”
A Jeff Nichols Retrospective by Dylan Moses Griffin
A Series by Angelica Jade Bastién
A Series by Angelica Jade Bastién
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Did we really need another Purge film? Probably not, but did we need another film where Frank Grillo kicks ass? Yes. Absolutely yes.”
Justine A. Smith Remembers Andrzej Żuławski (November 22, 1940 – February 17, 2016)
“Profoundly funny, shocking, sad and ultimately inspiring, Spike Lee’s Chi-Raq is the rude awakening that America needs to get its shit together.”
“An overlong melodramatic exercise in aridity, Alone in Berlin fails as a testament to the efforts of the Quangels and fails to tell a cohesive, engaging story.”
“Midnight Special has an emotional core compelling enough to draw in massive crowds of cinemagoers, a sci-fi grandeur showy enough to pull in the Marvel/DC crowd (is there a still a DC crowd?), and a visual acuity worthy of the interest of even the most hardened cinephiles.”