A cross-country flight/drinking challenge doubles as commentary on superficial empowerment stories.
“In the original script, it’s called the ‘love machine.’ But everyone who saw it said, ‘Oh, love machine is so French.’ So, f*ckbox.”
An escape room leads to everything but bonding when the gang tries out a new craze.
With Suspiria on the horizon, we’ve compiled a review of the Italian director’s work.
From TIFF, the director and his frequent collaborator talk about Loro, the cinema of excess, and the similarities between Trump and Berlusconi.
With Dennis gone, the gang resorts to desperate, hilarious measures to make up for his absence.
“I’ve tried to use my phone less.”
“It was all I could think about, all day, every day.”
In honor of The Meg, we’ve ranked the most lethal onscreen sharks.
We singled out 12 sound bites from Ryder’s films, from her auspicious beginnings to her mainstream fame and onto her fascinating present.
Howard’s debut performance in Madeline’s Madeline is the sort that instantly projects a long future of varied work.
From Ojka to The Do-Over.
“Ooh, you’re gonna love season three.”
Exploring the grand tradition of screen entertainment using sci-fi as a platform for anti-imperialist metaphor — without quite sticking the landing.
“In ninth grade, you lose all your popularity going from middle school to high school. It’s a completely different dynamic.”
What is the thought process when a person sees a movie like Eating Animals and decides to make a radical life change as a result?
A children’s film about pacifism winning out over imperialist annihilation might seem odd, but after the Summer of Love, it made perfect sense.
It may have begun as a series of Pepsi Max ads, but when expanded to feature length, it behaves in a remarkably similar fashion to kung fu.
Wasikowska’s dedicated opposition to reductive or sanitized portraits of imperfect women, apparent in Damsel, has been a career constant.
Including: Are we all just living inside an episode of Entourage?
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