• The French Dispatch

    The French Dispatch



  • Pete's Dragon

    Pete's Dragon


    Can't believe people are preemptively crediting Chloe Zhao with bringing Terence Malick to Disney when David Lowery already did that five years ago here.

  • The Underground Railroad

    The Underground Railroad


    Frequently striking by tv standards, and it's easy to see what might've attracted Jenkins to the material. In his hands, The Underground Railroad becomes another character journey from trauma-induced internality to a more emotionally open courage, not unlike the arcs of the protagonists in Moonlight and If Beale Street Could Talk. This is prestige tv through and through, though...a mechanically plotted season-long narrative that feels stretched despite how closely it hews to its source material, written in such a way…

  • Army of the Dead

    Army of the Dead


    Another L for the increasingly desperate Snyder haters out there.

  • Profile



    First one back in theaters - seemed fitting to inaugurate the occasion with a Screenlife feature after the last year and change of screen life. A little less satisfying than the Unfriended diptych, which already looms large over this micro-genre; Profile by contrast definitely feels like a movie about Isis set in 2014, as told through a Western perspective and primarily via Skype (itself a relic of an earlier online era). The best moments here still confirm the dramatic potential…

  • Steven Universe Future

    Steven Universe Future


    Here we are in the future :\

  • Exhibition



    Cool house.

  • Resident Evil: The Final Chapter

    Resident Evil: The Final Chapter


    Very satisfying sprint to the finish. Though I kinda prefer Retribution's grandiose frames, I still ended up appreciating Final Chapter's chaotic cuts/editing as well - a complimentary aesthetic that amplifies how fucked everything has become in the Res Evil-verse (only a few thousand humans alive on Earth, all of whom scheduled to die in two days etc.). Not totally sure why studios keep handing PWSA video game franchises that end up being despised (/unwatched in Monster Hunter's case?) by the fanbases of the games in question, but glad they keep doing it, truly our foremost video game cinema auteur.

  • Pirates of the Caribbean: At World's End

    Pirates of the Caribbean: At World's End


    The apex of Verbinski's form in both style and substance: his most ambitious array of set-pieces affixed to a globe-and-realm-trotting yarn reminiscent of the Transformers movies, all organized around Verbinski's finest critiques of imperialism and manifest destiny to date (though Lone Ranger isn't far off). The film's broader message - a rejection of commerce acquiring a monopoly on everything special in the world - holds extra weight when considered alongside the current cultural context of the company that released this movie, and feels more and more resonant the further we get from the 2000s maximalist auteur blockbuster era.

  • Onward



    Shockingly derivative of The SpongeBob SquarePants Movie (2004).

  • Where the Wild Things Are
  • Zack Snyder's Justice League

    Zack Snyder's Justice League


    Somehow the most improbable blockbuster in recent memory and also a logical counterweight to the delirium of 2016's Batman v. Superman, Justice League (2021) is a strident, surprisingly earnest picture. The fascist Batman of BvS is exorcised into a globalist one, whose mission to create the Justice League in Superman's honor subsumes and purifies him. To the extent that Snyder himself can be read onto Batman - and many viewers certainly did circa BvS - the parallel narrative of his…