OPUS invites us to a stunning and horrific listening party
by Emily Maesar, Associate TV Editor
Celebrity is one hell of a cult. But, as it would happen, a cult is also a hell of a cult.
Welcome to the Shadow Gallery: Nazi punks fuck off
by Ryan Silberstein, Managing Editor, Website
There are a lot of ways to resist, but as a film critic, I thought that one additional thing I can do is to write about movies that depict the evilness of fascism and/or resistance to totalitarian regimes.
Let me see inside your house: DEEP RED and its voyeurism 50 years later
by Allie Lembo, Staff Writer
I will always come back to Deep Red because I, like Marcus Daly, like Dario Argento, like to look at all the stuff.
Interview with Terence McCormack, sound utilities technician for A COMPLETE UNKNOWN
by Tessa Swehla, Staff Writer
An interview Terence McCormack, an experienced sound utilities technician who is part of the sound team that is up for the Academy Award for Best Sound for A Complete Unknown.
How to Start Watching: David Lynch – Part 1
by Lindsey Romain, Staff Writer
I’ve gone ahead and linked several David Lynch shorts (and a few commercials) to the feature films and TV projects of his that they best correspond with, in chronological order from the beginning of his moviemaking career.
See You at the Cinema: London’s Prince Charles Cinema
by Jill Vranken, Staff Writer
You want to do the classic Rocky Horror Picture Show sing-a-long? They’ve got it. You want to spend a whole night marathoning the movies of Wong Kar Wai? You best believe they’ve got it scheduled.
Romance Week: Love in Bloom(sday)– BEFORE SUNRISE, Ulysses, and the poetry of wandering
by Lindsey Romain, Staff Writer
A present so defined by disruption and decay—politically, ecologically, communally—that the concept of chance meetings and hope and romantic bids feel by contrast unimportant. But oh how contrary—how necessary those things are now more than ever.
Romance Week: How Bridget Jones shaped and reflected the last 24 years of womanhood
by Megan Robinson, Staff Writer
Each Bridget Jones film represents the cultural stages of modern life as we’ve experienced them. They are “time capsules” that make us smile as we remember who we used to be and what, or who, we used to love.
GRAND THEFT HAMLET stages Shakespeare in an unlikely place
by Tina Kakadelis, Associate Editor
Just as humans hadn’t gone to the moon before 1969, humanity has not seen the famous “To be, or not to be” monologue interrupted by someone firing a rocket launcher while dressed as a mutant lizard until now.
Interview: Alex Jacobs, Editor of IN A VIOLENT NATURE
by Emily Maesar, Associate TV Editor
For the release of the Collector’s Edition of the film, MovieJawn’s Associate TV Editor, Emily Maesar, sat down with the film’s editor, Alex Jacobs, to talk about what it was like making the film and what the reception has been like.
Best of 2024: I TOLD YA – CHALLENGERS' costumes are deeply intentional
by Emily Maesar, Associate TV Editor
While Jonathan Anderson captures the time periods with perfect precision, he’s also masterful at allowing the characters to speak for themselves with their clothing over the course of the most important 13 years of their lives.
THE GIRL WITH THE NEEDLE is a tense portrait of a world without compassion or justice
by Billie Anderson, Staff Writer
Combining stark black-and-white cinematography with a narrative steeped in melodrama and existential despair, von Horn crafts a film that is as haunting as it is beautiful, earning its place as one of the most disturbing films of recent years.
YOU ARE NOT ME hides holiday horror inside a compelling LGBTQ+ family drama
by Samantha McLaren, Staff Writer
For all the tinsel and talk of good cheer, the holidays are often fraught with tension—doubly so if you’re a queer person whose family has never quite accepted you for who you are.
Party Like It's 1999: Rough nights in New York–BRINGING OUT THE DEAD and EYES WIDE SHUT
by Kate Beach, Staff Writer
Looking back on two films that contributed heavily to one of my favorite subgenres: wild nights in New York City. Buckle up, let’s talk about Martin Scorsese’s Bringing Out the Dead and Stanley Kubrick’s Eyes Wide Shut.
QUEER meanders through a devastating portrait of love and longing
by Billie Anderson, Staff Writer
Queer’s meandering, often opaque narrative asks more of its audience than Guadagnino’s previous works. But for those willing to embrace its complexities, Queer offers a devastating and unforgettable portrait of longing, insecurity, and the relentless search for connection.
THE BEAST OF WALTON ST. pairs practical werewolf effects with a gritty queer lead
by Samantha McLaren, Staff Writer
If you’re looking for a good old-fashioned werewolf movie with a festive feel, you might want to ask Father Christmas for a copy of The Beast of Walton St., releasing just in time for the holiday season.
Noir Highway: DETOUR remains a pulpy classic
by Gary M. Kramer, Staff Writer
Ulmer’s B-movie developed a cult following after it became a staple in revival theaters in the 1980s. With its pulpy plot and Savage’s fierce performance, it remains a noir favorite of almost everyone who sees it.
Interview: Eddie Muller of TCM's NOIR ALLEY
by Rosalie Kicks Editor in Chief and Old Sport
Bleak tales, shadowy figures, and cynical characters may await, but with Eddie Muller at my side I could not be more thrilled as I know my eyes will witness a moving image that is something to behold.
How to Start Watching: Movies at Home
by Billy Russell, Staff Writer
I dedicated the last year to building a home theater for myself so I can have total immersion AT HOME, away from assholes.
A REAL PAIN confronts the Holocaust from the POV of third generation of survivors
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.