The world needs weepies.
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Hamnet (2025)
Category: Review
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The Perfect Neighbor (2025)
It’s not often you can honestly describe a film as both “exploitative” and “restrained,” but The Perfect Neighbor lives in an unsettling overlap — and gets a lot of its magnetic power from the fact that it pushes past tasteful boundaries in some areas pulls back in others.
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Sentimental Value (2025)
Every time a Scandinavian director gets praised for making a film “reminiscent of Ingmar Bergman,” I brace myself for two hours of immaculate misery and a big, chilly lesson about how people are flawed and feelings are difficult.
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Wicked: For Good (2025)
In 2006, Pitchfork published a review of the album Shine On by Jet with a 0.0 score.
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Wicked (2024)
Imagine me trying, through sheer force of will like Tim Robinson in I Think You Should Leave, to push this into “Good” territory.
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Too Old to Die Young (2019)
“The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?”
–W.B. Yeats, “The Second Coming,” 1919
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Eternity (2025)
I am clenching my jaw trying to resist making the obvious joke about the runtime.
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Hard Eight (1996)
Paul Thomas Anderson showed up in the mid-’90s as a wunderkind and a walking contradiction
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After the Hunt (2025)
I’m always interested when great directors decide to alienate their audience, and I have to believe that’s the game Luca Guadagnino is playing here.
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Twinless (2025)
Although it might be my favorite movie of the year, I almost don’t want to review Twinless. I want every viewer to go in with as little knowledge as possible.