
Another Mother’s Son movie review: punching Nazis, mom style
Not alt-history but a true story from a Nazi-occupied English-speaking place, a hugely relevant reminder that resistance to injustice is an absolute imperative.

Not alt-history but a true story from a Nazi-occupied English-speaking place, a hugely relevant reminder that resistance to injustice is an absolute imperative.

The sparse, cold satisfaction that could be wrung from Trainspotting’s punk insolence has been replaced by an exhausted cynicism. Which is exactly right.

Tepid teen romance turned implausible thriller is just about saved by a powerful, and unusually disturbing, performance from Bill Paxton (one of his last).

Strange and melancholy, this genre-defying portrait of grief and loneliness puts Kristen Stewart’s onscreen persona of restive reluctance to very effective use.

Shattering and deep-down bone-chilling. A viciously unsettling nightmare of race and privilege that carves out a much-needed paradigm shift for genre film.

Like a theme-park mounting of the 1991 cartoon, or the blandified pop version of an enchanting signature character tune. A watered-down pastiche of itself.

Odious propagandistic attempt to enshrine Turkish denial of the Armenian genocide of World War I into cinematic history via a tepid and unconvincing romance.

A wonder of low-budget suspense, this is a horror movie with no monsters, only people in an impossible situation. Intense, claustrophobic, totally gripping.

Takes women’s hostility out of the realm of the passive-aggressive and gives it free comedic rein physically in a way that is hilarious, disturbing, and pointed.

Boiled down to its bonkers essence, Skull Island is a Vietnam war movie with monsters, a retro analog vibe, and a dash of both Moby-Dick and The X-Files.