mother! is not fucking around. This is a film that well and truly earns its exclamation mark.
There’s never going to be a version of It as terrifying as the novel I read when I was 12. But the new adaptation does well to channel the unnerving spirit of King’s novel.
Steven Soderbergh is back, baby!
A film about powerful women and our fear of them. Also, gigantic city-destroying monsters.
Kong: Skull Island isn’t interested in saying anything more substantive than, “Whoa, did you see that!?”
T2: Trainspotting succeeds because it plays like a darker, sadder, tireder, older version of the original film.
Silence subtly subverts the insidious narrative of meaningful misery that’s so ubiquitous in Western (and Christian) culture.
Manchester by the Sea’s protagonist represents the distillation of uncommunicative masculinity as well as its deleterious effects.
Over at Junkee I’ve written about Making a Murderer, examining how the series manipulates viewers and how, ultimately, those manipulations are in service of a good cause – reinforcing the presumption of innocence. Generally, this is where I’d conclude a repost here on ccpopculture; a quick gesture to the piece which should theoretically speak for…
Over at Junkee, I explained how Please Like Me has established itself as the best television show of 2015 by exploiting the inherent sadness of sitcom stasis. Read the piece here.