Review: Jordan Peele’s Alien Invasion Thriller Nope Resists the Filmmaker’s Usual Thematic Undertones
Although it may take a while to realize it, Nope, the latest work from writer/director Jordan Peele (Get Out, Us),…
Review: The Bob’s Burgers Movie Is More of What Fans of the Show Already Appreciate
Less a feature film and more of an expanded episode of the television series (not a criticism, just an observation),…
Review: At Times Dark and Grotesque, Nia DaCosta’s Candyman Seeks to Give Meaning to the Classic Horror Myth
One of the reasons this combination remake/sequel/reboot of the gets-better-with-age 1992 film Candyman is tough to discuss is because it’s…
Review: False Positive Uses Horror and Social Commentary to Explore Fertility, Pregnancy and Female Agency
If you’re looking for a comedic partnership team who, between the two of them, have worked on such shows as…
2019 in Review: Best Narrative Films of the Year
Call me old fashioned, but I’m a firm believer in not posting a Best Of the Year list until the…
Review: Jordan Peele’s Us Revels in an Ambiguity with Bite
There’s a line spoken early in Us, the sophomore feature from writer/director Jordan Peele (Get Out) that is important but…
Review: Spike Lee’s BlacKkKlansman Is Audacious, Impressive and Timely
The best movie of the week, possibly the month, and certainly one of the best of the year is the…
Chicago Film Critics Honor Best Films of The Year; Lady Bird Nabs Top Honor
To the National Board of Review, it’s The Post. To the Los Angeles Film Critics Association, it’s Call Me By…
Film Review: Get Out, A Glimpse Into the Subtle Fear of Being Black in Predominantly White Spaces
The surprise midnight screening at the Sundance Film Festival this year wasn’t much of a surprise by the time it…
