
classic film through a feminist lens: Baby Face (1933)
It’s easy to see an anti-feminist “Just look what happens to women who break the rules” underneath what is most obviously simply straight-up salaciousness.

It’s easy to see an anti-feminist “Just look what happens to women who break the rules” underneath what is most obviously simply straight-up salaciousness.

Should be grim, bitter, and as horrifyingly alluring as Hannibal Lecter. But it’s nothing but a teen-friendly ad for toys, Ts, and other disposable merch.

Michel Gondry’s latest is charming but slight, and its typical teen-boy obsessions about boobs and bullies are already well-trod ground.

Filtering other people’s stories through the eyes of white men is tedious and offensive, and it feels like a desperate hedge against fresh perspectives.

Cheer-worthy portrait of a singer for whom overcoming adversity has been a mainstay, and a testament to the power of music and family to keep a gal going.

An atypical disaster movie, less about the failure of technology than the failure — and perhaps the resurgence — of the human spirit in the face of that.

Everything looks great on paper here: Damon’s brawny presence; the smartly staged action, etc. And it’s not unfun. But it feels less black ops than old hat.

Moments of genuine tension are few in this would-be suspenseful thriller, which can’t settle on a state of mind for its protagonist, or for its own story.

This South Korean hit is an oozy doozy of a horror-thriller; confidently spins out its own unique — and breathless — take on familiar genre tropes.

Intense action; smart, funny nods to its roots while moving in a new direction; and explicit confrontation of a problem always at the heart of Star Trek.