Review: Destin Daniel Cretton’s ‘Spider-Man: Brand New Day’
“‘Spider-Man: Brand New Day’ thwips back into the hearts of Marvel enthusiasts, fanning the flames of both consumers and investors alike.”
Review: Eli Roth’s ‘Ice Cream Man’
“Eli Roth’s exercises in bad taste are always more tiresome than they are provocative, and his latest effort ‘Ice Cream Man’ is no different…”
Don’t Stop ’Til You Get Enough: ‘Rush Hour 2’ at 25
“With the exception of ‘Addams Family Values’ (1993), you’d be hard pressed to find a sequel that improves on the original film more successfully than ‘Rush Hour 2.'”
Review: Kiyoshi Kurosawa’s ‘The Samurai and the Prisoner’
“‘The Samurai and the Prisoner’ never subverts expectations, which is further proof that Kurosawa’s skill as a genre craftsman extends far beyond his horror comfort zone.”
Review: Christopher Nolan’s ‘The Odyssey’
“‘The Odyssey’ is indeed a fun action-adventure film, but die-hard Nolan fans may find themselves questioning the sustainability of generating such high-cost productions.”
The Joys of a Small Life: ‘Clerks II’ at 20
“The anti-mainstream tone of ‘Clerks II’ speaks to Smith paving his own way in Hollywood, even when everybody hates him for it.”
Review: Avalon Fast’s ‘Camp’
“‘Camp’ is ultimately much easier to admire than enjoy.”
Review: Abinash Bikram Shah’s ‘Elephants in the Fog’
“‘Elephants in the Fog’ is a moving and deeply empathetic portrait of transgender lives in a conservative South Asian society.”
An Interview with ‘Early Days’ Filmmaker Priyankar Patra
‘Early Days’ Interview: Dipankar Sarkar discusses the 2025 movie with filmmaker Priyankar Patra.
Review: Steven Spielberg’s ‘Disclosure Day’
“‘Disclosure Day’ has its moments in the sun, but even Spielberg’s inner child energy is limited.”
Review: Leah McKendrick’s ‘Voicemails for Isabelle’
“‘Voicemails for Isabelle’ might annoy some viewers with its handling of rom-com tropes, but McKendrick clearly understood objective #1: to entertain a global Netflix audience of different ages.”
Review: John Early’s ‘Maddie’s Secret’
“Camp is a near impossible sensation to manufacture without feeling forced, but Early manages to evoke it with ease in ‘Maddie’s Secret.'”
Hyperreal Film Club Review – ‘SHARP: Moving Picture II’
“This cavalcade of ambitious eccentricities and diasporic dreamers isn’t after your validation, nor should it be considered “main character energy.”
An Interview with ‘Mayilaa’ Filmmaker Semmalar Annam
‘Mayilaa’ Interview: Dipankar Sarkar discusses the 2026 movie with filmmaker Semmalar Annam.
Building the New Queer Canon #11: Reinventing the Modern Love Story with Pierre le Gall’s ‘Flesh and Fuel’
“‘Flesh and Fuel’ has an inherent romanticism which transforms le Gall’s 2026 film into a tear-jerking crowd pleaser instead of a political commentary first and foremost…”
Review: John Carney’s ‘Power Ballad’
“‘Power Ballad’ is an authentic crowd pleaser that the movie’s in-universe hit single could never be.”
Review: Daniel Roher’s ‘Tuner’
“The most damning thing about ‘Tuner’ is that it feels like a very deliberate attempt to make a festival-friendly “calling card” movie…”
Review: Natalie Erika James’ ‘Saccharine’
“‘Saccharine’ is an effective queer love story and a surprisingly moving tale of female friendship surviving against increasingly insurmountable odds. Let women be gross!”
Review: Curry Barker’s ‘Obsession’
“‘Obsession’ refuses to underestimate the emotional intelligence of the audience and refrains from spoon-feeding viewers monologues about abuse and trauma.”
Review: Damian McCarthy’s ‘Hokum’
“‘Hokum,’ much like ‘Caveat’ and ‘Oddity,’ is pure nightmare fuel. But there’s a small tinge of hope — a suggestion that forgiveness is possible — that differentiates it from McCarthy’s previous movies.”