Approaching this review of Come to Daddy, I realize it isn’t something I want to write about at all; it’s something I want you to watch, and after you see it, I want to talk about every detail with yo...

In The Rhythm Section, the twentysomething Stephanie Patrick has descended into a life of drug addiction and prostitution following the death of her family in a mysterious plane crash three years ago....

The Jerk yearns for great stupidity. Its rags to riches (then to rags and riches again) story is merely a framework on which to hang jokes. If pressed, one could draw some lesson about the dangers of ...

American Factory, the new documentary by Ohio-based filmmakers Steven Bognar and Julia Reichert, picks up a few years after their Oscar-nominated short for HBO, “The Last Truck: Closing of a GM Plant”...

The ubiquitous celebrity of silent film stars is not like a celebrity today. Writing from experience, a person can pass through our fragmented culture and remain completely unaware of the latest YouTu...

Joe Dante’s Explorers might be an intricate, decidedly postmodern critique of how American pop-culture endlessly references itself, until we can no longer tell the difference between the real and the ...

In the whimsical fantasy The Brand New Testament, Jaco van Dormael considers what would happen if you created a personality profile of God. What kind of person do you get when you factor in God’s beha...

The Green Mile finds writer-director Frank Darabont operating in two modes, that of a sentimentalist and an unyielding cynic. Darabont has given us stirring examples of each mode. In the former, he ex...

Rob Reiner’s Misery is a distinctly cinematic adaptation of a Stephen King novel. Though not faithful in the strictest sense, as the author’s more literal devotees will note, the translation from the ...