The Perilous Path from Stage to Screen: The Successes and Failures of Una
Una is more successful suggesting the vestiges of what would have made it a successful play than replicating them.
Una is more successful suggesting the vestiges of what would have made it a successful play than replicating them.
Murder on the Orient Express’ initial sense of fun evaporates as it leans into its investigation and (in)famous twist.
I want to play a game.
The rules are simple. Before you sits a television, the seven Saw movies and a timer set to 666 minutes.
Watch all seven movies before the timer runs out; fail, and you’ll be subject to the most gratuitous, elaborate torture devices our team of underpaid Hollywood screenwriters can come up with.
Sailor Moon S is my favourite season of the show thus far, in large part because it’s easily the queerest season yet (and that’s saying something).
American films about race are films about white supremacy and black suffering. Detroit is primarily a film about the latter.
People finding meaning in pop culture ephemera is so often met with mockery, so it’s refreshing to see it addressed with such compassion.
Thor Ragnarok is half Taika Waititi film – funny, digressive, unpredictable – and half Thor film – mired in tiresome Norse mythology and following the MCU formula note-for-note.
For better or worse, Jigsaw is just another Saw sequel.
Food Wars! offers up a substantial serve of shonen anime tropes, complemented by a generous side dish of food porn. Think Dragonball Z meets Iron Chef. It’s fresh and fulfilling like a hearty Sunday roast.
George Clooney, a regular Coens collaborator, knows the notes but he can’t master the music with his latest film, Suburbicon.