by Tessa Swehla, Associate Editor
The latest French adaptation of The Count of Monte Cristo, directed by Matthieu Delaporte and Alexandre de La Patelliere, leans into the historical epic aspects of the story, condensing some of the more labyrinthian plot details and characters in order to emphasize the action.
by Tessa Swehla, Associate Editor
There’s lots here that’s familiar to fans of the duo: wacky inventions, cheese, tea, Wallace getting in over his head and Gromit having to save him.
by Tessa Swehla, Associate Editor
The War of the Rohirrim is one of the darker tales of Middle Earth, with the scope of an Homeric epic and the emotional heft of a Shakespearean tragedy.
by Tessa Swehla, Associate Editor
Elevation feels like a TV movie made in the early 2000s.
by Tessa Swehla, Associate Editor
Why do we find these old houses in books and film creepy? It’s because they are externalizations of their inhabitants, a physical intrusion of abstract ideas like secrets, trauma, lies, and violence.
by Tessa Swehla, Associate Editor
Writer-director Caroline Lindy expertly weaves in horror elements into the film to challenge both Laura and the audience’s perception of themselves.
by Tessa Swehla, Associate Editor
Tessa is back to talk about Dracula, but this time she turns her attention to the small screen!
by Tessa Swehla, Associate Editor
Goodrich doesn’t seem that interested in interrogating traditional gender labor distribution or in holding its protagonist accountable for his choices.
by Tessa Swehla, Associate Editor
It’s a difficult line for many children’s films to walk—entertaining both children and adults—but The Wild Robot walks it well, most likely due to the fact that its middle grade source material allows it to be more nuanced than your average children’s film.
by Tessa Swehla, Associate Editor
I’ve watched many, many, many time loop films. And some time loop episodes of TV (it seems like most sci-fi or magical shows that go on for any length of time have at least one). But none of them are quite like Omni Loop, a quietly ambitious entry into a staple genre.
by Tessa Swehla, Associate Editor
The grief that comes from the loss of a partner is especially difficult, and that is the kind of grief that is at the center of The Secret Art of Human Flight.
by Tessa Swehla, Associate Editor
While Alien is a masterwork in slow tension building, Aliens is bombastic.
by Tessa Swehla, Associate Editor
Truly a modern action classic, Mission: Impossible – Fallout is a stand-out in the franchise and in a genre that that franchise helped to create.
by Tessa Swehla, Staff Writer
Science fiction–particularly sci-fi horror–has been fascinated by the idea of hybridization, of combining different species via technology.
by Tessa Swehla, Staff Writer
Heroes Shed No Tears is an unpolished but charming piece of Woo filmography that I would recommend to anyone who wants to see an early example of the action master at work.
by Tessa Swehla, Staff Writer
Created by such members of the MGM prop department as Arnold Gillespie and Robert Kinoshita, Robby is another leap forward in android design.
by Tessa Swehla, Staff Writer
I have returned this SpookyJawn with a second installment examining six more portrayals of the dark prince over his hundred years of gracing the screen.
by Tessa Swehla, Staff Writer
With a very few exceptions, many of these filmmakers seem to agree with Javik from Mass Effect 3 that conflict between humans and synthetics is inevitable, at least in a world where AI is self-aware and intelligent enough to make its own choices.
by Tessa Swehla, Staff Writer
The Pod Generation isn’t perhaps the most subtle sci-fi film, but considering the timeliness of its subject matter, maybe it doesn’t need to be.
by Tessa Swehla, Staff Writer
In Annihilation, cancer is just another mutation, a lifeform on its own evolutionary journey.