REVIEWSetc.

There are books you read once and carry forever, lodged somewhere between the ribs. Albert Camus'  The Stranger  was that book for us, the one that arrived at exactly the right age when the world felt arbitrary and grief felt impossible to perform on cue. Meursault was not a villain. He was just a man who could not make his insides match what the outside demanded. We understood him completely. We were young. The sun had never tried to kill anyone we knew. And yet. So when Fra

Disguised as a sweet treat, Forbidden Fruits  reveals itself to be sticky and messy, like fruit juice running down your arm. Jumping out of the gate with a balls-to-the-walls directorial debut, Meredith Alloway's influence from the teen drama films of the late 90s and early 2000s is willfully embraced to bring forth a new cult classic in 2026.  Confidently walking the halls of an overly busy shopping mall, the Fruits, Apple (Reinhart), Fig (Shipp) and Cherry (Pedretti) sancti

Despite not being the biggest Coen brothers fan, there's something about No Country For Old Men that just clicks for me. Whether it'd be the terrific ensemble, the detailed writing, or the quiet but subdued pacing, it's a film that's always been on my mind for quite some time. The film follows Llewelyn Moss (Josh Brolin), who stumbles upon a botched up drug deal and takes a briefcase that holds $2 million in cash. He discovers he's being followed by a merciless killer by the

Mike & Nick & Nick & Alice follows Mike (James Marsden), a gangster trying to leave that world behind, when he's approached on his final night by Nick (Vince Vaughn) for one final job. Mike is secretly dating Alice (Eiza González), who also happens to be Nick's wife. Tensions rise when Mike realizes the Nick he's working with isn't present day Nick, but a time traveling Nick from six months in the future, trying to save Mike on the night he was originally killed. The film als

There is a version of The Housemaid that probably works. You can see the outline of it. The bones are there. This story clearly wants to dig into some loaded material involving a woman’s place in modern life, the power imbalance inside marriage, the pressures of parenthood, and the lingering damage of past trauma. That is not small stuff. And to the film’s credit, it at least gestures toward all of it. The problem is that The Housemaid never really says anything with those

We are living in the weirdest timeline: one where there is a whole cinematic universe of action movies based around ballerinas . With two movies in the last few years simply having been called " Ballerina " (okay, I guess the John Wick spin-off had a subtitle) and being about a ballet dancer who goes on a revenge tour against those who have wronged her, you can be excused for thinking there is a lack of originality in the film world. Amazon Prime Video decided to get in on

I love a good fashion documentary. The best ones, like Unzipped  or Valentino: The Last Emperor , understand that fashion is chaos disguised as elegance. There is drama, deadlines, panic, ego, tears, last minute miracles. The camera catches people sweating as much as it catches them styling. That is the fun of it. So Marc by Sofia  arrives with a lot going for it. You have Sofia Coppola behind the camera and Marc Jacobs in front of it. Friends for decades. Creative collaborat

There is a certain kind of studio sci-fi film that feels increasingly endangered. The kind built on scale, curiosity, star power, and emotional payoff. The kind that trusts audiences to engage with ideas while still delivering momentum and spectacle. Project Hail Mary  belongs to that tradition, and it does so with confidence. It is, at least for me, the strongest film I’ve seen so far this year. That may sound like the usual post-screening high talking, the sort of reaction

Redele Riding (Victoria Tait) has been expelled from school and is doing her best to hold things together. She's living with her one-armed mother, Scarlet who is slowly disappearing into her heroin addiction. When Scarlet finally overdoses, Red is left with no money, no plan, and no options. She gets sent to live with her estranged grandmother Penelope (Lynsey Beauchamp), a Scottish aristocrat with a large estate in the Highlands. It's about as far from Red's London flat as y