I’ll be honest: I’ve spent the better part of a decade dodging Yorgos Lanthimos movies.
Bugonia (2025)
I’ll be honest: I’ve spent the better part of a decade dodging Yorgos Lanthimos movies.
It might just be my undying love for Freaks and Geeks, but I’ll basically always show up for a Paul Feig joint
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.