Retro Monsters and Sexual Politics Dominate These Three Sci-Fi Movies
Sci-fi movies Unknown Terror, The Colossus of New York and Destination Inner Space inject monsters into personal melodrama for masculine redemption.
Sci-fi movies Unknown Terror, The Colossus of New York and Destination Inner Space inject monsters into personal melodrama for masculine redemption.
The family is the source of neurosis, and any hint of an allegedly happy ending in these three film-noirs must happen over someone’s dead body.
Jussi Adler-Olsen’s Department Q crime thriller The Hanging Girl unravels in its 2024 film adaptation by Ole Christian Madsen, Boundless.
For compelling and worrisome reasons, crime sells in our TV entertainment. The Responder, Shardlake, and Eric feed our brutal compulsion in varying ways.
Jussi Adler-Olsen, author of the Nordic noir Department Q series, isn’t thrilled with the transition of his work to film. Five directors of six films argue that’s a crime.
In 13 episodes, lost TV wonder 21 Beacon Street is an uncanny and legally actionable precursor to the Mission Impossible franchise.
Alex Garland’s Civil War refuses righteousness. Instead, it takes a hard, unflinching look at the true costs of war for everybody and everything it touches.
These three TV shows of early spring 2024 are the most compelling, mind-boggling, and expensive-looking ones to watch before you go back out in the sun.
The films in Film Noir: The Dark Side of Cinema XVII are united by one of Hollywood’s greatest actors, the almost casually brilliant and magnetic Edward G. Robinson.
Kore-eda Hirokazu’s Monster has striking moments, but casually skips over details, reducing its characters to incomplete fragments.
The bleakness in Walter Salles and Daniela Thomas’ 1995 crime thriller Foreign Land would mark the film as a paragon in the newly emerging Brazilian cinema.
Saltburn sparked discussion for its shocking sex scenes, but for all its stylized images and clever gendered trope inversions, its queer promises are empty.