On November 9, 1984, Wes Craven’s A Nightmare on Elm Street was released to critical and commercial acclaim, praised for how it leveraged the slasher... Read More
Retrospective
How does a film filled with characters going through existential crises overcome its own to become an enduring classic? When it comes to hailing a... Read More
Our relationship to pop culture is deeply personal. Yes, there are numerous monoculture moments, starting with The Beatles and Elvis causing mass hysteria on The... Read More
For most of us, our tedious and boring lives are rarely interrupted with the amount of drama needed for a narrative film. But they could... 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
Theater and cinema have always had a strange symbiotic relationship. While cinema has, over the decades, become more accessible to view than theater, theater is... Read More
The state of cinema is ravaged with unoriginal, unfulfilling, and downright wasteful popcorn, blockbuster filmmaking. In the past, there used to be an internal process... Read More
The trailer for the upcoming film Trap proudly declares it to be “a new experience in the world of M. Night Shyamalan.” This represents a... Read More
“If you like this movie like i do, your rolling on the floor. Every second is purely genius. If you liked it for real, your... 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

‘Shocker’ at 35: Wes Craven’s Beautifully Bonkers Thriller About an Electric Serial Killer Lives On As an Underrated Gem [Retrospective]
‘The Shawshank Redemption’ at 30: The Enduring Classic Proves it Can Make it on the Outside
We’re Not Dunne Yet: A ‘Gone Girl’ 10th Anniversary Retrospective and its Deserved Oscar Legacy
Wrong Place, Wrong Time: ‘The Third Man’ (1949), ‘Collateral’ (2004) and ‘Green Room’ (2016) [Retrospective]
Make It a Double Feature: ‘Beach Rats’ and ‘Red, White & Royal Blue’
How ‘Sing Sing’ and ‘Ghostlight’ Highlight the Power of Theater as Venues of Survival
Faith, Heroes, Monsters, Scares, and Twists: Ranking the Films of M. Night Shyamalan
The Film We Don’t Speak Of – Revisiting M. Night Shyamalan’s Masterpiece ‘The Village’ 20 Years Later [Retrospective]
Retrospective: Worst Picture/Best Picture – ‘Catwoman’ and ‘Million Dollar Baby’ (2004)
Make It a Double Feature: Go on the Vacation from Hell with ‘Midsommar’ and ‘Barbarian’
‘Clarissa’ Review: Sophie Okonedo Gets the Flowers Herself in Modern Day ‘Mrs. Dalloway’ [B+] Cannes
‘Full Phil’ Review: Kristen Stewart is in Peak Form in Quentin Dupieux’s Manic Father-Daughter Comedy [C+] Cannes
‘Club Kid’ Review: Jordan Firstman’s Gay Peter Pan Party Boy Tale Gets Raves Across the Board [A-] Cannes
‘Paper Tiger’ Review: James Gray’s New York State of Mind Needs a Rewrite [C-] Cannes