Channeling Steven Spielberg, Jurassic World sets the “bad” forces of social upheaval against the “good” traditional values.
Eileen Jones is a film critic at Jacobin and author of the book Filmsuck, USA. She teaches at the University of California, Berkeley.
Selma isn’t just a great movie. Its sense of history and justice is deeply politicizing.
We’re not saying we're on North Korea’s side this time around. But we’re definitely not on Seth Rogen's.
Interstellar celebrates American-style frontier expansion and retrograde masculinity. It’s an ideological monstrosity.
David Fincher’s Gone Girl revels in the sickness of our culture by making it seem attractive.
Who doesn't want to watch armed chimpanzees ride horses?
Despite his libertarianism, Mike Judge’s Silicon Valley tears apart tech elites with a ruthless precision we haven’t seen since Office Space
With The Grand Budapest Hotel, Wes Anderson has reached the dizzying point of fantasizing about feeling nostalgic for nostalgia itself.
The Wolf of Wall Street's eleventh hour Hail Mary doesn't atone for the rest of the film's gleeful celebration of rich assholes.
To see Philip Seymour Hoffman even in films that you hated was to come away awed.
Gravity points us back to the sensation cinema practices of the silent era, and it’s dimly possible that the American film industry might save itself by learning, or re-learning, from them.
Unlike most other American directors, Joel and Ethan Coen have always been interested in depicting failure. Their new film, Inside Llewyn Davis, takes such an unblinking look at humiliating defeat.
Thor: The Dark World is a perfect example of how market competition does not actually provide us with the highest quality product.
At least Verbinski tries to bring intelligent, politically-savvy revisionist westerns back into style.
The Oscar ceremony has finally acquired an ideal twenty-first century host in the smirking, tap-dancing, bland-faced Seth MacFarlane.