In the first essay of this series, G Clark examines some of 2017’s critically-acclaimed movies, which for one reason or another didn’t work for him.
Alex Carlson returns for a nerdy, nit-picky, and eventually VERY spoilery review of the year’s most anticipated film, ‘Star Wars: The Last Jedi.’
Quick Takes reviews of a bunch of movies, including BPM, Loveless, and The Disaster Artist
Guillermo del Toro’s ‘The Shape of Water’ is an exquisitely-acted, gorgeous film that introduces thematic threads it never satisfactorily follows.
An all-review show this week, covering movies like ‘Lady Bird,’ ‘Three Billboards,’ ‘The Florida Project,’ and more!
On growing up, and being grown, with the most popular film series of all time. The final Essays on Star Wars installment.
Reviews of a bunch of movies available for streaming, including ‘Columbus’ and ‘Brawl in Cell Block 99.’
How, in trying to resolve one major plot hole, ‘Rogue One’ kills one of the secret joys of ‘Star Wars.’
You love Film Misery, now try some Queer Misery! Justin and Film Misery editor Lena Houst get together for this bonus episode to discuss the best of queer cinema in 2017
Robin Campillo’s ‘BPM (Beats Per Minute)’ about a group of passionate nonviolent protesters, has a thrilling, kinetic first act. Then…it has a second act.
The most common criticism of ‘The Force Awakens’ is its familiarity, but it has something to say about the stories we’ve heard a million times.
Triple-header reviews, including Yorgos Lanthimos’ latest ‘The Killing of a Sacred Deer!’
‘Revenge of the Sith’ is the final film of a director who is seldom thought of, first and foremost, as a director.
Reviews for ‘The Meyerowitz Stories,’ ‘The Transfiguration,’ and ‘Manifesto.’
Stephen Cone’s ‘Princess Cyd’ is a ridiculously well-meaning venture, but blandness and a clanging lack of subtlety drain it of any impact.
How the favored Star Wars composer tries to save ‘Attack of the Clones’ from itself.
Reviews of the Netflix Original series ‘Mindhunter,’ plus the Portugese thriller ‘The Ornithologist.’
James Franco makes ‘The Disaster Artist’ an explanation for and homage to ‘The Room,’ while directing himself to his best role.
‘The Phantom Menace’ could have been a great prologue. But its inconsistent approach results in fundamental missteps.
A classic review of Kurosawa’s ‘High and Low,’ plus reviews of ‘American Made’ and ‘Blade Runner 2049’