I’ll basically always show up for Paul Feig’s whole deal
The Housemaid (2025)
I’ll basically always show up for Paul Feig’s whole deal
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.
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.
I am clenching my jaw trying to resist making the obvious joke about the runtime.
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.
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.
Good Boy is a slight but fun idea for a film, the kind of shower brainstorm that rarely makes it to the page, let alone the screen.
In the attention economy, celebrity is both the means and the ends.
Hedda is a movie I can easily imagine a small subset of viewers declaring the best of the year, and I am very sure I am not one of those people.
Guillermo del Toro has finally dragged his dream project Frankenstein across the finish line, a decades-in-the-making adaptation that arrives with the weight of cinema prestige and awards expectations on its sewn-together shoulders.