‘Baby Cart in the Land of Demons,’ the fifth chapter of the Lone Wolf and Cub saga, slows down the pace to allow for some great character moments.
The fourth entry in the ‘Lone Wolf and Cub’ series, ‘Baby Cart in Peril’ sees a new director shaking the style up—to varying degrees of success.
The third instalment in the Lone Wolf and Cub series, ‘Baby Cart to Hades,’ dials back the action but ramps up the suspense, making it the best entry yet.
‘Lone Wolf and Cub: Baby Cart at the River Styx’ is a fantastic action picture, one of the best ever—sure to please action fans and Tarantino devotees.
‘Lone Wolf and Cub: Sword of Vengeance,’ the first in the series, offers a killer origin story and a parade of balletic violence.
The ‘Lone Wolf and Cub’ Movie Marathon kicks off with a review of ‘Shogun Assassin,’ a poetic, violent American remix of the first two films in the series.
G Clark embarks upon his most ambitious project yet: a series of Blind Spot essays focusing on the famous Lone Wolf and Cub series of samurai flicks.
Martin Scorsese’s new film, ‘Silence,’ will transport you to a world you’ve never seen. Dense and difficult, but immensely rewarding—The Best Film of 2016.
Ti West’s first foray out of the horror genre, ‘In a Valley of Violence,’ is a derivative western that, though well-made, may test your patience.
‘Tanna’ is Australia’s entry for this year’s Best Foreign Language Film Oscar. Worthy of its nomination, it’s a beguiling window into a New World.
Theodore Melfi’s ‘Hidden Figures” is a comforting fairy tale, set in a 1960s where racism is easily identified and solved, and no one ever smokes.
Damien Chazelle’s ‘La La Land’ is an uncomfortable marriage of old-school Hollywood musical and modern rom-com, though it certainly entertains.
‘Rogue One’ is exactly the movie you’d expect to get if you let a soulless corporation make a Star Wars film by committee.
‘The Autopsy of Jane Doe’ is a silly little horror film—but see it in the right frame of mind, and it’ll work some magic on you.
The forthcoming ‘Graduation’ is complex, thrilling, satisfying filmmaking, from one of the Romanian New Wave’s greatest talents, Cristian Mungiu.
Though ‘Fences’ is no grand cinematic experience, it provides an audience with over two hours of great actors delivering great dialogue.
Pablo Larrain’s ‘Jackie’ is a thrilling narrative and thematic arabesque; featuring Natalie Portman’s best performance, it’s a biopic for haters of biopics.
Garth Davis’s ‘Lion’ provides a cheap and easy emotional catharsis, but lacks thematic heft, despite a stellar cast and first half.
‘Toni Erdmann,’ Germany’s submission for the Best Foreign Film Oscar, is a protracted family ‘comedy’ about a father and daughter trying to reconnect.
Mel Gibson returns from exile with Hacksaw Ridge: a stirring masterpiece about how a man’s religious convictions helped him accomplish real-world miracles.