
Where Are the Women? The Green Inferno
The only character with any sort of arc is a young woman. But she is half-dressed half the time and subject to sexualized torture.

The only character with any sort of arc is a young woman. But she is half-dressed half the time and subject to sexualized torture.

If there is a target for the pitiless cynicism of this brutal exercise in cannibalistic gore, I can’t figure out what it is. Inhumane in multiple directions.

A Mr. Collins of a movie: fatuous, self-important, and nowhere near as smart or as elegant as it thinks it is. There isn’t a lick of wit to be found here.

May be a familiar David-versus-Goliath tale, but it is also an inspiring and hugely emotional experience, due in large part to the powerful performances.

See this for Casey Affleck: he exudes a classic cinematic masculinity here. Alas, the rest of the film is old-fashioned in ways that are downright stodgy.

How did a genre-smashing director make a heist thriller so generic, with characters too unlikable to be engaging but not twisted enough to be intriguing?

Gets close to representing women well but falls down, and ends up a story about a man obsessed with the rape and murder of a pretty blonde teenaged girl.

The 2009 Oscar-winning Best Foreign Language Film has been given a listless Hollywood makeover, one that wastes Chiwetel Ejiofor’s effortless sincerity.

There are many women, all with their own authority, among the large ensemble of interviewees: activists, art critics, musicians, doctors, and others.

This is what a revolution in the 21st century looks like. Spoiler: The power of ridicule when Facebook journalists are watching is vast.