#film-critique

#film-critique

Spaced Invaders made its alien beings malevolent, reckless, and with faces only a Martian momma could love.

The best nature documentaries immerse viewers in the primal struggles of survival, offering a stark contrast to sanitized portrayals of the natural world.

"Christie’s casting might have been conducive to the Oedipal side of the Danish prince's feelings towards his mother if only the director's performance had allowed room for it."

"The seriousness and the tone with which we played it and the slow burn on Christian at the end, where he's just sweating mortar shells. It was really funny."

Think about it: Four is one more than three. (Just like Allison Williams in this movie, I am a woman in STEM.)

Paul W.S. Anderson’s approach to video game adaptations remains static, relying on outdated aesthetics and a persistent homage to nineties culture, despite the evolution of gaming.

Once again, Quan stars in a movie that asks him to code-switch radically between sweet, lovable bumbler, supremely skilled martial artist, and sleek, intimidating romantic figure.

I think there's going to be a sequel. Maybe I'm an idiot I definitely still don't understand how a multiverse works but I sort of think this ought to be illegal.

Netflix's original movie offerings have garnered a mixed response from critics, showcasing the platform's capacity for both critically acclaimed films and less favorable entries.

Dana Stevens describes her theatrical experience watching 'Megalopolis' in IMAX, emphasizing the audience's engagement, diversity, and lively reactions throughout the film's runtime.

Over the past few years, streamers have attempted to engineer so-bad-it's-good hype for their offerings. Creating the worst film possible has become an explicit aim, which has resulted in almost-infinite permutations.

Justin Chang highlights three films for the holiday season: 'Nickel Boys,' 'The Brutalist,' and 'Hard Truths,' which provide thrilling yet important cinematic experiences over traditional fare.

François Truffaut's assertion that all war films inevitably end up being pro-war suggests that violence in cinema is inherently ambiguous, complicating filmmakers’ intentions.

Jesse Eisenberg expresses concern about the exploitative nature of how Holocaust is portrayed in films, emphasizing the ease of evoking sympathy through such settings.