Reviews of some Cannes darlings of years past, including David Lean’s ‘Brief Encounter’ and Bille August’s ‘Pelle the Conqueror.’
Reviews of A Quiet Place, Blockers, and Isle of Dogs
Reviews of Ready Player One, Annihilation, and other movies from the first quarter of 2018.
Eli Roth’s ‘Death Wish’ isn’t as bad as you’ve heard, and actually improves upon the 1974 original in a few important ways.
Before closing the door on 2017 completely, G Clark examines the ridiculous critical plaudits for French film “Théo and Hugo’ and a repellent indie darling.
In a year when progress for women and people of color was highlighted, the lack of woman-directed winners still feels glaringly apparent.
Some Oscar History this week and we discuss the historically significant 1968 Academy Awards.
A deep dive into what will win, what should win (and what ought to have been recognized) at this Sunday’s Academy Awards.
A discussion of this years Oscar nominations, followed by an attempt to parse out the differences between the “Best Picture” and “Best Director” categories.
G Clark puts a cap on 2017 with his utterly definitive and wholly inarguable rankings of the best films of the year, which everyone may now argue about.
A countdown of each co-hosts lists of the ten best movies of 2017.
A gorgeous, yet blundering, adventure, Studio Ponoc’s ‘Mary and the Witch’s Flower’ fumbles in finding its own authentic voice in Ghibli’s wake.
In the lead-up to our Best of the Year episode, Lena Houst guest-hosts to discuss the miscellaneous achievements of 2017.
Justin Jagoe’s 2017 in review: A summation of the best (and worst) of the past year’s cinema.
A review of Spielberg’s ‘The Post,’ followed by a discussion of some of the best television of 2017
Reviews of ‘All the Money in the World,’ ‘I, Tonya,’ and a quick take on ‘Downsizing.’
‘The Son of Joseph’ is a pretentious dig at the pomposity of the art world; the lead performance works, but the film’s style is grating.
Dee Rees’s ‘Mudbound,’ exclusive to Netflix, wants to tell an interesting story—but a choppy structure and incessant voiceover sink it.
A review of Guillermo Del Toro’s latest, ‘The Shape of Water,’ followed by a discussion of how the still-young Awards season is shaping up.
In the first essay of this series, G Clark examines some of 2017’s critically-acclaimed movies, which for one reason or another didn’t work for him.