by Ryan Silberstein, Managing Editor, Red Herring
While it is objectively satisfying to see white supremacists taken down, The Order does not offer much else in terms of substance.
by Ryan Silberstein, Managing Editor, Red Herring
While, officially, whistleblowers have a protected status, The Insider shows how this is undermined by confidentiality agreements, lawsuits, and corporate misdeeds.
by Ryan Silberstein, Managing Editor, Red Herring
Gladiator II is far messier and less inspirational than its predecessor.
by Ryan Silberstein, Managing Editor, Red Herring
Drawing from its telenova inspiration and leaning into its twists and turns make this an unusual but highly entertaining musical thriller.
by Ryan Silberstein, Managing Editor, Red Herring
A Real Pain follows David (Eisenberg) and his cousin Benji (Kieran Culkin) as they travel around Poland with a tour group, seeing where their grandmother lived, the Majdanek concentration camp outside Lublin where she was interred, and their grandmother’s former home.
by Ryan Silberstein, Managing Editor, Red Herring
And after watching a few Stanwyck noirs, I fully believe that if the devil was real, he’d fall for her too
by Ryan Silberstein, Managing Editor, Red Herring
Two notes (Jaws). Five notes (Close Encounters of the Third Kind). John Williams’ work is so iconic that you can likely hear the exact notes being referenced here, whether you want to or not.
by Ryan Silberstein, Managing Editor, Red Herring
It would be accurate to call Here a gimmick movie, as the film is essentially one static shot of the same place over the course of Earth’s history through the present–with a heavy emphasis on the residents of a house built on the spot in the early 20th century.
Let’s Start a Cult is a comedy that misses the mark but could be a small step towards better things from Stavros Halkias down the line.
Read Moreby Ryan Silberstein, Managing Editor, Red Herring
While Venom: The Last Dance feels like it might buckle under all of its various plot appendages, the core relationship between Venom and Eddie remains engaging and fun enough to enjoy the ride.
by Ryan Silberstein, Managing Editor, Red Herring
My Name is Alfred Hitchcock is frankly an embarrassing exercise when taken as a whole, offering baffling choices and severely limited in its outlook.
by Ryan Silberstein, Managing Editor, Red Herring
After a steady, thoughtful first two acts, Conclave takes its focus off the characters and the ideologies at play within the Sistine Chapel, an error compounded by the rushed nature of the film’s final twist.
by Ryan Silberstein, Managing Editor, Red Herring
Bob Clark’s Dead of Night–later retitled to the more familiar Deathdream–reinterprets the vampire myth and transposes it to Vietnam War-era America.
by Ryan Silberstein, Managing Editor, Red Herring
Where the film shines is in its expressions of Williams’ creativity and the emotions he puts into his music.
by Ryan Silberstein, Managing Editor, Red Herring
If Tea was any longer, I’m not sure I would have been able to make it through it, because this short film packs so much relatable feeling into its 12-minute run time that I found myself extremely moved.
by Ryan Silberstein, Managing Editor, Red Herring
What would it mean if we could receive messages through the veil? Nicholas Roeg’s Don’t Look Now (1973) and Olivier Assayas’ Personal Shopper (2016) both approach grieving from this angle but with different tones.
by Ryan Silberstein, Managing Editor, Red Herring
Megalopolis deserves to be considered in conversation with The Godfather and Apocalypse Now not just as explorations of the American Empire, but as proof to the power of cinema to convey the nuance and complexity that shapes the human experience itself.
by Ryan Silberstein, Managing Editor, Red Herring
This week, in honor of the wide release of Megalopolis, MovieJawn is looking back at some of Francis Ford Coppola’s lesser-discussed work. No Godfathers, Conversations, or Apocalypses right Now.
Read Moreby Ryan Silberstein, Managing Editor, Red Herring
While Transformers is often a self-serious toy franchise, this film finds a good balance between giving the story proper weight and allowing for enough comedy to emphasize that these toy movies are supposed to be fun.
by Ryan Silberstein, Managing Editor, Red Herring
All of this audaciousness comes about simply because the people hired to make this movie did their best to tell an interesting and engaging story in spite of the hardline toy sales-based mandate of their corporate masters.