SXSW may be the only film festival where the quintessential movies that play there aren’t just defining — they’re practically a genre. Here are some of the qualities of what has...
“Ready or Not,” the 2019 horror-comedy hit that turned “The Most Dangerous Game” into an aristocratic Victorian funhouse slasher movie, was nothing more (or less) than a well-executed piece of ultraviolent...
“I Love Boosters” has a flaky, what-the-hell-let’s-do-this effrontery. It’s the first movie Boots Riley has written and directed since his debut feature, “Sorry to Bother You,” which made a subversive splash...
The original title of “Heel” was “Good Boy.” The new title is probably more accurate, though an even more accurate title might be “Painfully Annoying Punk Idiot.” I jest (a bit),...
The movies we call faith-based often take the form of disaster porn. It only makes sense. These movies, framed as tests of faith, are built around a literalization of the spirit...
In “Joe’s College Road Trip,” Tyler Perry doesn’t just let his hair down, he isn’t just having down-and-dirty fun — he’s wildly, deliriously profane. The movie is a rude and rollicking...
In the last decade, I’ve occasionally written pieces that compared what’s happening in the world — specifically, in the Trump presidency — to something we’re used to seeing on the big...
“Give Me the Ball!,” the title of Liz Garbus and Elizabeth Wolff’s ferociously inspirational and entertaining documentary about Billie Jean King, refers to something that the fabled tennis superstar would say...
