Category: Now Showing
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“Project Hail Mary” will Amaze! Amaze! Amaze!
There’s a particular kind of science fiction that trusts you. Not the kind that stops the movie every twenty minutes to hand you a glossy explainer, but the kind that assumes you’re smart enough to sit with a problem, follow a mind at work, and feel the wonder of genuine discovery. Project Hail Mary, directed…
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The Academy’s Century: “Cimarron” (1931)
In a year following All Quiet on the Western Front, it makes complete sense that Cimarron was the next Best Picture winner. Aside from some interesting performances, primarily by Richard Dix, and some truly remarkable riding and action sequences, I couldn’t help but feel that I was watching a prolonged episode of Bonanza. The story…
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Here Comes “The Bride!”
There is a moment, fairly early in Maggie Gyllenhaal’s audacious and maddening The Bride!, where the film seems to dare you to keep up with it. Mary Shelley — speaking from the afterlife, played with electric, aristocratic menace by Jessie Buckley — leans into the camera and announces that she has a story she never…
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Horror Without Torches: Guillermo del Toros’s “Frankenstein” (2025)
In the summer of 1816, the sky over Europe dimmed. Mount Tambora had erupted the year before, scattering ash across the atmosphere and lowering global temperatures. The result was what contemporaries would call “the year without a summer”—a season of relentless rain, failed crops, and unseasonable cold. On the shores of Lake Geneva, confined indoors…
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The Disappointment of “Song Sung Blue”
Pauline Kael’s reputation as a revered film critic rests not merely on taste but on nerve. Her refusal to bow before Citizen Kane—a film embalmed by decades of reverence—remains one of the most liberating gestures in American criticism. Kael reminds us that criticism is not a moral obligation to admire greatness but an honest reckoning with…
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The Quiet Power of “Sentimental Value”
There is a particular stillness that defines Sentimental Value—a stillness that does not signal emptiness, but accumulation. This is a film made of layers: of time pressing down on space, of memory embedded in architecture, of emotion stored rather than expressed. From its opening moments, it announces itself as a work uninterested in urgency. Instead, it…
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25 in ’25 #22: “The Holdovers” (2023)
Early in Alexander Payne’s 2023 film, The Holdovers, Paul Hunham informs his students—without a trace of consolation—that “life is like a henhouse ladder: shitty and short.” It is not merely a joke, or even a provocation, but a thesis statement: a bleak, funny distillation of the film’s worldview, in which suffering is unavoidable, dignity is hard-won,…
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“Hamnet” – My Favorite Film of The Year
There are films that touch the heart, films that bruise it—and then there are films that ask you to live with your heart open. Hamnet is that rare, soul-deep experience. Watching it, boundaries between the modern audience and the people onscreen—whose real-life counterparts walked, loved, and mourned more than four hundred years ago—soften and blur, as if…
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The Quiet Tragedy of “Train Dreams”
By the time the credits rolled, I felt as though I had watched an entire life — fragile, lonely, unrecorded — unfold and disappear. And I knew that Train Dreams, the new Netflix film based on the 2011 novella, would be one of my favorite films of the year. Not because it dazzles, but because it…