George Romero’s Night of the Living Dead showed a new society devouring the old.
Eileen Jones is a film critic at Jacobin and author of the book Filmsuck, USA. She teaches at the University of California, Berkeley.
It’s a Wonderful Life of lowered expectations.
John Adams and Peter Sellars’s Girls of the Golden West is bland, poorly staged liberalism.
The October Revolution unleashed cinematic brilliance that even decades of political censorship couldn’t extinguish.
Christopher Nolan’s Dunkirk is short, action-packed, and not as bad as it could have been!
Sofia Coppola’s new film gets rid of everything that made the original interesting.
A new translation of the 1970s horror novel The Twenty Days in Turin is an eerily resonant read in 2017.
Meryl Streep’s speechifying at the Golden Globes was the worst thing to happen since Trump’s election.
What we liked about Carrie Fisher was that she seemed inclined to tell the truth, and almost nobody does that, certainly not Hollywood stars.
Grading a century of liberal film presidents.
The Birth of a Nation isn't up to capturing the brutal, prophetic justice of Nat Turner's rebellion.
The new Ghostbusters isn’t a feminist triumph. It’s just a bad movie.
The Free State of Jones isn't very good entertainment, but it deserves credit for getting much of the story of the Civil War and Reconstruction right.
Richard Linklater’s Everybody Wants Some!! assumes we'd all like to return to the days when the boys ruled campus.
Batman is a fascist. Superman is dead. I'm bored.
The communists in the Coen brothers' Hail Caesar! are silly caricatures, but the film upholds basic Marxist premises.
Instead of a captivating revenge film, The Revenant quickly becomes an overwrought mess.
M. Night Shymalan plays on our fears of growing old in his new movie The Visit.
Why have so many films dealing with the Civil War embraced the Confederate struggle?
Channeling Steven Spielberg, Jurassic World sets the “bad” forces of social upheaval against the “good” traditional values.