I get the desire to take comfort in cheerful stories of women’s triumph, from Ocean's 8 to On the Basis of Sex. But in 2018, I haven’t found them very comforting.
This year was bad, but at least the movies were good. Here are my favorites.
The Favourite and The Death of Stalin are dark historical comedies that work as funhouse mirrors, reflecting back warped shapes that look a little more recognizable than we'd like.
My half-joking hobby isn't all that funny anymore, but it’s not like I’m going to look away.
In Mid90s, Minding the Gap, and Skate Kitchen, skateboarding doesn't just look good onscreen — it’s a fascinating way to deal with race, gender, and what it means to belong.
First Man doesn’t romanticize Neil Armstrong, or NASA’s hard-won moon landing. Instead, it tries to show great achievements without needing to deify those responsible for them.
Bradley Cooper and Lady Gaga have remade A Star Is Born as a tender, conflicted love story for the age of poptimism. (Spoilers, if you haven’t caught any of the three previous versions of this movie.)
No one could blame Dan Fogelman for being upset about the critical reaction to his new movie, but the director’s self-defense is more cynical than any of the reviews.
Beautiful Boy, Ben Is Back, and Boy Erased each offer a different take on the idealized white suburban son whose parents fail to see him as he really is.
Cubicle drone Jim Halpert has remade himself as an action hero, and a particular kind — a reluctant but stalwart defender of an American way of life.
Crazy Rich Asians and To All the Boys I've Loved Before may be making history, but all they really want is to entertain. Isn't there something historic in that, too?
John Cho's new movie Searching might be the first one you see that takes place entirely on a computer screen. But it probably won't be the last.
There will always be new leading men in Hollywood. But Cruise seems determined to prove that none of them will ever work as hard as he does.
The days of the watercooler show may be numbered, but Sharp Objects suggests that prestige drama could still develop into something new.
Projects like Jurassic World: Fallen Kingdom, Westworld, and War for the Planet of the Apes suggest humanity is getting what it deserves. (Spoilers for the end of Fallen Kingdom.)
In this summer of scamming, IRL grift is easily outpacing the current big-screen visions of cons, heists, hustling, and fraud for sheer escapist satisfaction.
Between the poisonous trauma of Hereditary and the oppressive solidarity of A Quiet Place, horror in 2018 has become a family affair.
Years after leaving the PlayStation behind, I've found my way back into video games — or maybe they've found their way back to me.
Jennifer Fox’s powerful new film The Tale is a reminder of how many #MeToo narratives have been centered on the men accused, rather than the people who have spoken up against them. (Warning: This essay contains descriptions of child sexual assault, and spoilers.)
Don’t get fooled by the lighthearted marketing — Tully, like Young Adult, is actually a serious look at women in crisis. Spoilers for Tully below!