screen review

“Moxie” Isn’t Perfect, but Neither Are New Feminists

Moxie is more educational than groundbreaking.

Dream Sequence: “To All the Boys” Ends Less Sugary Sweet Than It Began

The film ultimately lacks the essential nutrients of a satisfying conclusion. Read more »

Preying on Predators: “Violation” Is a Measured Study of Rape-Revenge Hurt

Our protagonist is a martyr at her breaking point, someone who’s pushing through her limits to balance the scales of justice because she knows no one else will. Read more »

“I Care a Lot” is Visceral Catharsis for Women’s Rage

There’s therapy to be found in these films. Read more »

Great American Nowhere: “Nomadland” Is the Movie “Hillbilly Elegy” Wants to Be

Nomadland actively rejects poverty porn tropes. Read more »

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. Read more »

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. Read more »

Royal Representation: On the Strange Racial Politics of “Bridgerton”

In essence, all these shows do is show people of color being terrible white people. Read more »

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. Read more »

Switching Fears: “Freaky” Is an Empowering Body-Swap Horror Comedy

Freaky explores gender and body horror in a captivating (and extremely funny) way. Read more »

“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. Read more »

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