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Wes Anderson is feeding his indulgences more than usual in The French Dispatch
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Politics are supercharged in the director’s latest feature, but so is the dollhouse.
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The unfortunately entertaining conservative utopia of Once Upon a Time… in Hollywood
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Tarantino directs a movie too stylish for its own good in his obsessive effort to revive the glitz and glamour of a Los Angeles which never existed.
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Minority Report and the absolute power of law enforcement
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This manic, impeccably directed thriller presents fascinating ruminations on the control pursued by the highest authorities of society.
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Ghibli never misses, I swear. Just ignore Ocean Waves.
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As it turns out, disaster strikes when you hand young, unexperienced animators the most stressful job in the world.
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The Wizard of Lies assumes a lot about how much I pity the Madoff family
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There is little justification as to why this film follows the successors to corporate greed as though they are tragic victims.
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The Dead Don’t Die is even more baffling than you think
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Jim Jarmusch’s zombie “comedy” is animated by boredom, malice for the general public, and the most ridiculous Tilda Swinton cameo ever.
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The foundational empathy at the heart of Princess Mononoke
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Human industry’s willful exploitation of nature is met with violent revenge from the forest’s protectors in Miyazaki’s deeply political epic.
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Squid Game = capitalism, et cetera
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Anti-capitalist media made by capitalists may ultimately serve capitalism, but this series undoubtedly raises the right questions.
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Only Yesterday and the familiarity of boredom
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Unless you are constantly riveted by the plot of your everyday life, Isao Takahata’s intimate film will remind you of yourself.
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The Guilty is a classic wrongheaded remake of a foreign film
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Jake Gyllenhaal’s central performance commands enough fury to carry the chamber piece, but doesn’t justify why it is one in the first place.