WestWorld presents a seething capitalist critique, but only alongside subtle reinforcements of that same economic structure.

BlackBerry shocks as it mostly succeeds at standing out in the MoneyBro genre.

An analysis of WandaVision as allegorical for television’s escapist affordances.

Guardians of the Galaxy 3 is in fact the best film since Endgame, as if that means anything at all.

Beau Is Afraid’s quality is up for debate, but maybe it’s one not even worth having.

Almost a decade after its release, I still find myself returning to Middle-Earth.

Creed 3 delivers where its predecessor fell, while also failing to rise the heights of the original.

With Netlfix and A24’s Beef, it’s always something.

Creed innovated where its sequel fell flat.

Succession’s season 4 opener shows potential for being the most personal season yet.

This year’s biggest Oscar disappointment was in one of the tragically less recognized categories.

In recent years, toxic discipline has become synonymous with punishment and guaranteed resulting success. Let’s flip the narrative.

EO follows the traveling donkey as he faces the horrors of humanity, presenting the audience with a powerful lens at which to reflect on themselves and the world they inhabit.

2015 best picture winner Spotlight struggles at finding a voice, or a reason for existing at all.

Tar both haunts and impresses by delving into the psyche of a tortured yet tainted artist.

The third episode of The Last of Us demonstrates the philosophy behind quality adaptation.

Can The Last of Us save celebrated stories from the video game adaptation curse?

Brendan Fraser manages to partially save the sinking ship that is The Whale.

Another masterpiece from Park Chan-Wook proves the director as unimaginably innovative.

White Noise is an inconsistent blend of heady themes and biting satire that lacks identity.