You already know what doom-scrolling feels like. That specific, slightly shameful trance recipe videos you’ll never make, a Wikipedia rabbit hole that ends somewhere around a medieval plague, a clip of something you can’t quite categorize as real or fake. Your phone makes it easy. The internet makes it easier. And somewhere at the bottom … Read more
The Drama is rated R for sexual content, some violent and bloody imagery, pervasive language, and brief drug use though the weight of that rating comes less from frequency and more from how unsettling certain moments feel when they land. It’s harder than we like to admit to distinguish love from infatuation. The difference only … Read more
There’s a moment early in “The Serpent’s Skin” when Anna, our quietly magnetic protagonist, dismisses Alice Cooper’s latter-day cultural grumpiness with a single, perfectly calibrated line: “We’ll always have ‘Teenage Frankenstein.’” It’s a throwaway beat. Blink and you lose it. But it tells you everything about what director Alice Maio Mackay is doing here, raiding … Read more
The first thing that came to mind when Ted Levine appeared on screen with a knife in his hand wasn’t fear. It was recognition. A strange, almost guilty recognition. Cinema has a long memory, and so do we. You don’t cast the man who once whispered his way through The Silence of the Lambs and … Read more
There’s a moment early in She Dances where a father and daughter are driving together for the first time in what feels like forever, and the silence between them isn’t awkward so much as it’s loaded with the kind of quiet that has years of unsaid things packed into it. Steve Zahn, playing Jason with … Read more
There’s a certain audience that will meet The Faithful: Women of the Bible exactly where it stands, viewers who come not for reinvention but for recognition, who simply want to see scripture made visible. For them, this trio of made-for-television films, each reframing an Old Testament story through a woman’s eyes, may feel sufficient, even … Read more
You don’t have to wait long for “Hokum” to make its intentions clear. It opens like a ghost story, yes, but it quickly reveals itself as something heavier, more personal, almost accusatory in the way it circles grief and guilt. This is what Damian McCarthy does so well. Ever since Oddity quietly unsettled audiences, he’s … Read more