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Picnic at Hanging Rock
(1975)
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Ian Thomas Malone
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Weir’s great triumph comes from his firm grasp of the atmosphere, a harrowingly powerful experience. Few films capture the agony of an unsolved mystery with such grace and beauty.
Posted Jan 27, 2026
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Loving Annabelle
(2006)
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Ian Thomas Malone
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Brooks’ messy feature shines brightest when highlighting the cost of Simone’s decades of repression, capturing the zeitgeist of being gay in George Bush’s America.
Posted Jan 13, 2026
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Marty Supreme
(2025)
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Ian Thomas Malone
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Chalamet delivers what could very end up being a career-defining performance. Marty is so transparently full of himself, but Chalamet’s charm offensive is quite contagious.
Posted Jan 09, 2026
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Avatar: Fire and Ash
(2025)
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Ian Thomas Malone
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Fire and Ash struggles to overcome the clunky child custody case at the core of its narrative, a story otherwise content with playing a medley of Pandora’s greatest hits.
Posted Jan 05, 2026
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Predator: Badlands
(2025)
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Ian Thomas Malone
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Trachtenberg delivers a solid popcorn film, entertaining work that falls well short of what we know he’s capable of. One might have hoped he’d swing a little harder for the fences after the treat that was Prey.
Posted Nov 13, 2025
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TRON: Ares
(2025)
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Ian Thomas Malone
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The result is indistinguishable from the AI it nominally critiques, empty slop poured into its audience’s feed trough. Rarely does a major blockbuster rely so heavily on its composers to add any semblance of creative expression to such a lifeless corpse.
Posted Oct 12, 2025
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One Battle After Another
(2025)
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Ian Thomas Malone
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Anderson’s great triumph is the way he crafts a sweeping odyssey rooted in an intimate crime thriller. It’s a game of cat and mouse that feels like it completely captures the rot of this decrepit nation.
Posted Sep 26, 2025
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Spinal Tap II: The End Continues
(2025)
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Ian Thomas Malone
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Spinal Tap’s extended victory tour would be more acceptable if this film had tried to include more actual jokes. There are a couple of gags here and there, but nowhere near enough to pad out a feature-length runtime.
Posted Sep 22, 2025
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Downton Abbey: The Grand Finale
(2025)
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Ian Thomas Malone
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There’s no marquee event like a visit from the King or a mysterious French villa gifted to a dying octogenarian anchoring the narrative. Instead, Fellowes’ modest intentions serve as more of an extended episode of the series, a well-deserved victory lap.
Posted Sep 03, 2025
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Metropolitan
(1990)
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Ian Thomas Malone
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Stillman finds plenty of subtleties that elevate Metropolitan above a standard comedy of manners, able to engage earnestly with the concerns of youth without ever bending to the self-importance of his characters.
Posted Aug 26, 2025
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Last Summer
(2023)
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Ian Thomas Malone
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Life doesn’t always go the way we planned. You can’t control the actions of others, only the way that you choose to receive them. Breillat produces the film’s most compelling work when she homes in on that reality.
Posted Aug 26, 2025
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Shin Godzilla
(2016)
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Ian Thomas Malone
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Anno delivers a singular take on Godzilla that’s bound to stick with its audience long after the credits roll, a damning indictment on government incompetence that’s only improved with age.
Posted Aug 15, 2025
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Summertime
(1955)
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Ian Thomas Malone
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While her obvious star power radiates in every scene, Hepburn elicits great sympathy for Jane through the subtle moments of profound sadness, the immutable sting of loneliness still resonating seventy years later.
Posted Aug 11, 2025
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Pump Up the Volume
(1990)
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Ian Thomas Malone
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Despite a lackluster screenplay, Pump Up The Volume stands out from its contemporaries through its earnest sincerity. Disaffected youth don’t want to hear that it gets better. Slater found a way to reach them anyway.
Posted Aug 05, 2025
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The Fantastic Four: First Steps
(2025)
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Ian Thomas Malone
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There’s never a dull moment in First Steps, though the film's frantic pacing often forgets to breathe. The eager cast rarely get a chance to make the roles their own.
Posted Jul 25, 2025
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Monika
(1952)
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Ian Thomas Malone
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Andersson rarely plays Monika for sympathy, but you can understand her claustrophobia toward her dreary monotony when juxtaposed against the ephemeral nature of summer.
Posted Jul 11, 2025
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Superman
(2025)
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Ian Thomas Malone
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Gathegi is the film’s secret weapon, stealing every scene that he’s in, even when Mister Terrific isn’t the focus, the only hero unfazed by the film’s universe-shattering stakes.
Posted Jul 11, 2025
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Jurassic World Rebirth
(2025)
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Ian Thomas Malone
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Rebirth is solid popcorn entertainment. The paint-by-numbers approach won’t appeal to many Spielberg fans, but there’s a lot of fun to be had watching one-dimensional people run away from CGI abominations.
Posted Jul 07, 2025
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Ballerina
(2025)
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Ian Thomas Malone
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The film never shakes the sense that it could have produced a better product with a few more passes at the script, but aside from a few janky special effects sequences, Ballerina manages to deliver a satisfying experience for fans of the franchise.
Posted Jun 05, 2025
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Mission: Impossible - The Final Reckoning
(2025)
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Ian Thomas Malone
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While the stunts represent Cruise’s insatiable need to top his own absurdity, there’s no denying that the results are top-tier blockbuster entertainment. The film’s sloppy execution undercuts its suspense, but it’s still a sight to behold.
Posted Jun 03, 2025
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Thunderbolts*
(2025)
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Ian Thomas Malone
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The third act hits a few pacing snags, but shows a lot of restraint as far as typical blockbusters go. Thunderbolts* drama is remarkably human, the product of well-crafted storytelling that actually puts in the legwork to deliver a satisfying resolution.
Posted May 03, 2025
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On Swift Horses
(2024)
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Ian Thomas Malone
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Edgar-Jones masterfully captures the innate struggle of trying to find happiness in a world diametrically opposed to queer joy.
Posted Apr 11, 2025
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Kissing Jessica Stein
(2001)
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Ian Thomas Malone
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As Helen, Juergensen brings that vital magnetic Type-A Gen X lesbian energy, the kind of force of will destined to stay with someone regardless of what happens to a relationship.
Posted Mar 27, 2025
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Captain America: Brave New World
(2025)
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Ian Thomas Malone
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Despite a budget of close to 200 million, the MCU has rarely felt smaller than Brave New World, which often feels like an episode of The West Wing without any of the quippy writing or coherent plot progression.
Posted Feb 14, 2025
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Emilia Pérez
(2024)
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Ian Thomas Malone
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Emilia Perez contains what is very likely the worst song ever written about gender dysphoria, guaranteed to make any trans person regret the life decisions that might cause people to associate themselves with this trainwreck.
Posted Jan 31, 2025
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The Brutalist
(2024)
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Ian Thomas Malone
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The shortcomings of Corbet’s storytelling abilities are best apparent through an epilogue tasked with significant heavy lifting for a narrative that had three and a half hours to set up its third act. The Brutalist is a deeply frustrating piece of art.
Posted Jan 29, 2025
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Sing Sing
(2023)
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Ian Thomas Malone
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Domingo puts forth what might be the strongest performance of his career.
Posted Jan 27, 2025
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Sonic the Hedgehog 3
(2024)
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Ian Thomas Malone
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Sonic the Hedgehog 3 is not exactly great art, but Fowler deserves a lot of credit for competent blockbuster filmmaking. 3 is a major improvement over the first two.
Posted Jan 15, 2025
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Small Things Like These
(2024)
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Ian Thomas Malone
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Mielants’ work cares little for the theatrics of filmmaking, giving great dignity to the horrors he depicts through his refusal to bend toward sensationalism.
Posted Jan 13, 2025
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Queer
(2024)
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Ian Thomas Malone
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Guadagnino delivers an adaptation that captures the essence of Burroughs’ style and elegance, along with all of his shortcomings. Queer is a beautifully empty narrative.
Posted Dec 19, 2024
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Conclave
(2024)
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Ian Thomas Malone
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Fiennes’ orbit is a genuinely interesting place to spend time in. The level of detail in the cinematography and set design is so exquisite that you can’t help but wonder why the script wasn’t given the same attention.
Posted Nov 25, 2024
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Last Year at Marienbad
(1961)
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Ian Thomas Malone
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Resnais has a beautiful way of deconstructing reality, challenging the way we think about the world through the romance of desire. As uncomfortable as it is to say, facts don’t really have much business in the realm of love.
Posted Nov 08, 2024
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Joker: Folie à Deux
(2024)
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Ian Thomas Malone
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Rarely does a film plod along with such reckless abandon toward the idea that anyone is supposed to enjoy what they’re watching.
Posted Oct 04, 2024
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My Old Ass
(2024)
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Ian Thomas Malone
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My Old Ass is a quietly powerful testament to the importance of living in the moment, time never fully belonging to any one of us. Life waits for no one.
Posted Oct 01, 2024
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Platinum Blonde
(1931)
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Ian Thomas Malone
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Strong performances and a competent showing from Capra are sunk by a meandering screenplay that gives the actors little to work with.
Posted Sep 20, 2024
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The Passion of Joan of Arc
(1928)
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Ian Thomas Malone
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Dreyer delivers a timeless treatise on the agony of the soul that bristles against the confines of its structure, a film so carefully constructed yet completely raw in its delivery.
Posted Sep 09, 2024
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The Queen of My Dreams
(2023)
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Ian Thomas Malone
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There is a beautiful film to be found in Mizra’s work, but it’s hard to praise her technical skills as a director when her narrative so blatantly holds back from its audience.
Posted Sep 09, 2024
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Furiosa: A Mad Max Saga
(2024)
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Ian Thomas Malone
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Miller’s technical craft is almost always on full display, but Furiosa lacks the sheer spectacle of Fury Road. The film is nearly a half-hour longer, but the action feels smaller.
Posted May 30, 2024
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Happy Together
(1997)
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Ian Thomas Malone
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Wong’s commitment to the tedious nature of his film’s core romance highlights a key pillar of the 90s LGBTQ experience. Many of us know what it’s like to give partners significantly more chances than they deserve.
Posted Apr 29, 2024
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Chutney Popcorn
(1999)
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Ian Thomas Malone
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The film’s greatest triumph is the way Ganatra breaks down seemingly impassable messiness, making an impassioned case for the power of love to persist under the harshest circumstances.
Posted Apr 25, 2024
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Dune: Part Two
(2024)
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Ian Thomas Malone
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Villeneuve spends so much time capturing the feel of Arrakis that he sometimes forgets that the audience needs to feel something toward Paul, perhaps the weakest character among the principal cast.
Posted Mar 01, 2024
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The Zone of Interest
(2023)
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Ian Thomas Malone
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The deafening silence that lies at the core of The Zone of Interest is nauseatingly powerful, an impressive feat of filmmaking within a well-trodden genre.
Posted Feb 14, 2024
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Saltburn
(2023)
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Ian Thomas Malone
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Saltburn is pretty and plenty of its audience will delight in being able to say they were in on the joke whenever the film resurfaces on social media. A viral movie is not necessarily a good movie.
Posted Jan 22, 2024
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Dave Chappelle: The Dreamer
(2023)
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Ian Thomas Malone
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The Dreamer is a lazy victory lap from a man with nothing else of value to offer the world beyond self-congratulatory musings on his own legacy, a lethargic effort aimed solely at fueling the far-right grievance industrial complex for another week.
Posted Dec 31, 2023
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Roadblock
(1951)
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Ian Thomas Malone
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Director Harold Daniels assembles all the pieces of a rich noir thriller, but Roadblock never really builds on its compelling deconstruction of American capitalism.
Posted Dec 20, 2023
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Godzilla Minus One
(2023)
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Ian Thomas Malone
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Godzilla Minus One is a breathtaking tour-de-force for the power of cinema itself, a much-needed reminder of how good it feels to sit in a movie theater when studios actually invest in work that respects the humanity of its audience.
Posted Dec 13, 2023
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The Marvels
(2023)
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Ian Thomas Malone
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Somehow, against all odds, the film’s lean 105-minute runtime feels bloated and overwrought, a paint-by-numbers embarrassment from a company that cannot seriously claim to care about art. Its penchant for humor aside, the MCU is now thoroughly a joke.
Posted Nov 10, 2023
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Priscilla
(2023)
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Ian Thomas Malone
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Coppola delivers a sleek narrative well-suited for her skills, a surface-level reading of a drug-addicted superstar who owes most of his success to the phalanx coddling his every move while safeguarding the means of production.
Posted Nov 08, 2023
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Remy & Arletta
(2023)
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Ian Thomas Malone
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The real triumph of the film is Wittman’s ability to remind her audience of the whimsical feelings that young queer love can bring to any of us blessed, or cursed, enough to have experienced it for ourselves.
Posted Nov 08, 2023
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Bottoms
(2023)
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Ian Thomas Malone
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Bottoms is one of the greatest high school narratives of the twenty-first century, a triumph of queer cinema.
Posted Sep 14, 2023
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