film
“I Care a Lot” is Visceral Catharsis for Women’s Rage
There’s therapy to be found in these films.
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Homophobic Violence Mars the Romance of “The World to Come”
What the film lacks in any real, tangible chemistry between its leads, it makes up for in its excess of violence.
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Twisted Trauma: “Malcolm & Marie” Evaluates the Young, Female Muse
Marie is a muse without divine favor: She must know invisibility so that he might know its opposite.
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In Favor of the Queer Mediocrity of “Ammonite”
The film’s mapped-on queerness feels like a form of branding rather than a genuine endeavor.
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Switching Fears: “Freaky” Is an Empowering Body-Swap Horror Comedy
Freaky explores gender and body horror in a captivating (and extremely funny) way.
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“Wonder Woman 1984” Replaces Girl Power with Empty Platitudes
Although it tries, Wonder Woman 1984 struggles to speak to this moment and deliver a coherent message.
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Rescue Rom-Com: Sex Workers Reflect on the Fantasy of “Pretty Woman”
Pretty Woman is to real-life sex work what the Teenage Mutant Ninja Turtles are to actual ninjas.
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Bad (White) Moms Dominate Christmas Movies
Perhaps we’re not far enough removed from the bigoted assumptions that moms who don’t fit the mold aren’t parenting correctly.
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That “Gay Cowboy Movie”: Queer People Reflect on 15 Years of “Brokeback Mountain”
Six queer creatives reflect on “Brokeback Mountain’s” enduring, complex legacy and its indisputable impact on queer media and American audiences.
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Jane from “Happiest Season” is Autistic-Coded—And She Thrives
Whether coded or canon, Jane makes autistic viewers feel seen.
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