‘Wake in Fright’: a monster movie where the monster is… men
A stomach-turning filmic proof that toxic masculinity is enough to give us nightmares.
reviews and analysis
Everything we've watched recently for Naked Cinema Club. Every film gets a rating and a one-line verdict.
‘Teenage Sex and Death at Camp Miasma’ Bullies Us Back Into the Body
Jane Schoenbrun's meta-slasher takes the intellectuals who can't come by the hand and bullies us until we find the way out.
‘I Play Rocky’ Plays the Hits
Anthony Ippolito is a genuine find as Sylvester Stallone, but Peter Farrelly's crowd-pleaser is a copy of a copy, a greatest hits album of a much better movie.
Julianne Moore Brings Down the House in ‘The Debut’
Jesse Eisenberg's third feature hands Julianne Moore a bit part in a community theater production and lets her play it like the role of her life.
Gels Will Not Save ‘The Serpent's Skin’
Alice Maio Mackay has the witches, the vampires, and the pink glowing eyes. What she does not have is a reason for any of it.
‘Ink’ Doesn’t Practice What It Prints
Danny Boyle's Murdoch movie is a visually striking take on the beginning of the end of the news, with its own murky moral compass.
John Malkovich is the beating heart behind ‘Wild Horse Nine’
Two killers bicker their way across Easter Island as John Malkovich chews scenery in the role of a lifetime.
‘The Last Photograph’ Should be Zack Snyder's Last Movie
Zack Snyder's passion project is a slog of a revenge thriller that plays to his absolute worst instincts as a filmmaker.
Anna Biller Made a Tragedy. ‘The Face of Horror’ Plays as Comedy.
Biller says calling her medieval ghost story camp is a way of refusing to take it seriously. She has a point about the word, and about the room it screened in.
‘Send Help’ hangover: how hard is it to find a really good island movie?
Raimi had a great premise: out in the jungle, who survives, you or your boss? But… he didn’t take it far enough. I couldn’t unsee this movie, but it got me thinking about the working definition of the island movie.
‘Here the Whole Time’ is bad. I kinda like it.
It is being sold by Netflix as the Brazilian Heartstopper. It is silly. It is sugary. It is twenty years late to the body positivity trend. But maybe that’s exactly why we need it?
Ari Aster’s ‘Eddington’ Wants to Make You Hurt
A COVID-era western where the phone on the dashboard does the thinking. Aster's cruelest film, and the one most likely to be reclaimed.
nothing under that tag yet.