3D ‘Robot Monster’ Boasts Sex, Destruction and Space Apes
Robot Monster‘s reputation as a best/worst movie might be challenged in this 3-D format showcasing a boy’s libidinous dreams.
Robot Monster‘s reputation as a best/worst movie might be challenged in this 3-D format showcasing a boy’s libidinous dreams.
Through its storytelling method of glances, we see The White Lotus‘ critique of our tendency to extrapolate that which we do not understand, and to fill gaps in our knowledge with ideologies, mythologies, learned stereotypes, and meme-logic.
The pink fashion in the Barbie movie may seem like feminism, but if you squint deeper into the pinkwashing, you’ll spot some loose threads that you just have to pull.
Parker Posey’s performance in Party Girl – a parodic gesture that sweeps the frames in wide, showy arcs – is pure, sparkling kitsch delivered in champagne coupes.
In Martin Scorsese’s 1985 art punk gem After Hours, a yuppie lost in SoHo is terrorized not so much by the late-night characters but by the city itself.
By focusing on “love” rather than “sex”, Hays Code-era musical comedy The Second Greatest Sex was trying to communicate a deeper meaning about how the emotions and thoughts of women ought not to be controlled.
The San Francisco Silent Film Festival features iron-masked swashbuckling, flabbergasting twists, sexy farce, visual beauty, and strong women who stare into the camera, unnerving viewers.
Ted Lasso‘s frequent allusion to the Wizard of Oz shows its guiding principle of selflessness triumphs, no matter the score in the end.
In Raymond Griffith: The Silk Hat Comedian, the two clever silent films Paths to Paradise and You’d Be Surprised, make a working-class hero out of a toff in a top hat.
We dive into ‘Ted Lasso’ to see where the beloved AFC Richmond gaffer won and lost. Episodes were judged by their cohesion, heart, humor, and message.
Romcom The Broken Hearts Gallery is aware that we are chained to technology, yet it shrouds social media in the kind of movie magic that can revive the ailing genre.
Director Rebecca Zlotowski talks with PopMatters about her most autobiographical film to date, Other People’s Children, which has a “whiff” of Claude Sautet about it.