Friday A/V Club: Two anti-authoritarian movies from postwar Britain
The millennial generation has had enough anti-prequel propaganda.
If we move to space, it probably won't be because we filled up Earth with trash.
There's real grief in this superhero sequel. But it falls prey to too many Marvel movie problems.
Return of the Big Figure, and Colin Farrell at a new peak.
Sierra Pettengill's documentary focuses on the fake towns, built by the Army in the 1960s, to train law enforcement.
A stacked cast and an Oscar-nominated director can't save this flop.
Tracer takes mind control to a new level.
Hollywood often takes liberties. But there's a distinction to be made between poetic license and historical revisionism.
A technically astounding film that turns a French housing block into a political warzone.
Numerous critics object to the fact that the filmmaker, Meg Smaker, is a white woman.
A wannabe prestige picture that works better as a pulpy mind-trip.
The ultimate Airbnb horror story.
Ten years after its release, the final film of Christopher Nolan's Batman trilogy is possibly even more relevant.
Even as it gained fans around the world, home sales of the film remained illegal in the U.K. until 1999.
On streaming and the big screen, we're paying more for less, even as new ideas seem few and far between.
The original Jurassic Park is the best summer movie ever. The latest sequel just wants to remind you the original exists.
Disturbing, eerie, and strangely relevant, it's a return to form for the Canadian horror master.
A Sam Raimi fun house burdened by the Marvel universe's not-so-glorious purpose
No moral judgment, just Viking honor, pagan ritual, and inevitable death.
Another return to Potterville.
Jared Leto stars in a not-quite-Marvel film that inadvertently demonstrates the strengths of the MCU.
Nathan Rabin celebrates The Joy of Trash—and Gen X irony and cynicism—one terrible movie, book, and TV show at a time.