Glorious Summer is a well-lensed, intriguing odyssey into a sun-drenched hellscape. In its own way, it shows that much as life away from the commonplace... Read More
Matt St. Clair
Matt is a New England-based freelance journalist who lives and breathes the world of cinema and has been an Oscar watcher since the age of eight. His writing can be found on outlets such as The Film Experience, Roger Ebert, Digital Spy, and Slashfilm. He is also a Rotten Tomatoes-approved critic and a Gay & Lesbian Entertainment Critics Association member. You can follow him on Twitter @filmguy619. (He/They)
Valentine’s Day. A prime time for flowers, chocolates, raising single awareness, and, above all, rom-coms. Putting on a film like When Harry Met Sally.. or... Read More
When it comes to forming Christmas movie watchlists, one potential pitfall is not only figuring out what to watch, but being at risk of watching... Read More
With Halloween approaching, this month’s column entry is an ideal opportunity to recommend good scary movies. However, instead of usual suspects like the original Halloween... Read More
Whether he’s playing unambiguous scumbags or those who toe the line between good and bad, Irish acting wonder Barry Keoghan always knows how to keep... Read More
When it comes to sci-fi films about an attempt for romantic connection, movies about machines and AI tend to be prevalent within that canon, from... Read More
As we make our way through August, we still feel the muggy summer heat. For this month’s column, I’ve gone with two films for those... Read More
As a horror buff, for the next edition of Make It a Double Feature I’ve chosen two films about trips gone wrong for this month’s... Read More
As the name suggests, Pride Month is meant to be a time of pride and celebration. Part of that celebration can include watching uplifting films... Read More
Regarding ideal Mother’s Day viewings, you’ll probably see titles like Lady Bird and Steel Magnolias appear on people’s watchlists. Indeed, for those who want something... Read More

‘Glorious Summer’ Review: Helena Ganjalyan and Bartosz Szpak Create a Gilded Cage of False Freedom in Richly Lanthimosian Odyssey [B+] | SXSW
Make it a Double Feature: ‘The Brood’ and ‘Possession’
Make It a Double Feature: Make the Yuletide (Sad and) Gay with ‘All of Us Strangers’ and ‘Queer’
Make It a Double Feature: ‘Serial Mom’ and ‘Strait-Jacket’
‘Bring Them Down’ Review: Christopher Andrews’ Rough Crime Drama Features a Sublime Central Barry Keoghan Performance | TIFF
‘Daniela Forever’ Review: Henry Golding Elevates an Imaginative Sci-Fi Pic That Falls Short of its Full Potential | TIFF
Make It a Double Feature: ‘Beach Rats’ and ‘Red, White & Royal Blue’
Make It a Double Feature: Go on the Vacation from Hell with ‘Midsommar’ and ‘Barbarian’
Make It a Double Feature: ‘The Blue Caftan’ and ‘Rafiki’
Make It a Double Feature: Have an Unhappy Mother’s Day with ‘Autumn Sonata’ and ‘The Lost Daughter’
2026 Tonys: Laurie Metcalf (‘Little Bear Ridge Road,’ ‘Death of a Salesman’) May Join Elite Group of Double-Nominated Performers
2026 Tribeca Festival Celebrates 25th Anniversary with World Premieres of ‘Hadestown: The Musical,’ ‘Earth, Wind & Fire’ Doc
Director Watch Podcast Ep. 149 – ‘Killer of Sheep’ (Charles Burnett, 1978)
‘Lee Cronin’s The Mummy’ Review: Careful the Spell You Cast, Children Will Listen (and Sometimes Kill) [C]