James Gunn’s ‘Superman’ is very Gunn and very 2025
Movie review: The “Guardians of the Galaxy” helmer balances the launch of the DCU with a love letter to the Reeve-era “Superman.”
Movies
James Gunn’s ‘Superman’ is very Gunn and very 2025
‘Sorority Row’ (2009) lines up worst traits of the Naughties
Frightening Friday (Movie review): They’ll always know what you did last semester, but that doesn’t mean the paces have to be quite so formulaic.
‘Pulp Fiction’ (1994) ingeniously makes the whole film into a maguffin
Throwback Thursday (Movie review): In his masterwork of dark comedy, Tarantino relies on the audience’s cinema knowledge to cleverly invert the crime genre’s traditional message.
Despite team-up, ‘Karate Kid: Legends’ is legendarily dull
Movie review: The franchise’s branches intertwine, but without the humor of “Cobra Kai,” this sixth film packs little punch.
Giger, Henstridge, weirdly great cast keep ‘Species’ (1995) going
Frightening Friday (Movie review): This sub-“Alien” creature feature should theoretically go extinct, but it’s weirdly watchable.
‘Reservoir Dogs’ (1992) launches Tarantino’s career with a quiet bang
Throwback Thursday (Movie review): Though the film took a while to be widely appreciated, the Seventies nostalgia of Nineties cinema starts here.
‘Companion’ and the shame of trailers telling the whole story
Movie review: Thatcher is great in a darkly winking thriller about budding mistrust at a lake retreat. After the spoiler warning, I share thoughts on the marketing.
Prowling for an unsung Eighties slasher? Try ‘The Prowler’ (1981)
Frightening Friday (Movie review): Slathered with trope-building sequences and sub-Hitchcockian suspense, Zito’s film nonetheless has a shlocky pull.
‘Ballerina’ steps into ‘John Wick’s’ shoes for magnificent dance
Movie review: This “Wick”-verse film is made with just as much money and care, and it’s awesome to see Ana de Armas affirm her star status.
A high note about low people: ‘Before the Devil Knows You’re Dead’ (2007)
Throwback Thursday (Movie review): Sidney Lumet’s last film comes from a great screenplay by unheralded Kelly Masterson.