Movie

Most horror films generate fear by violating the boundary between a dangerous world and a supposedly protected interior. The killer enters the house. The ghost passes through the bedroom wall. The monster discovers the secluded place where its intended victims have gone to hide. Adrian Chiarella’s Leviticus (2026), however, begins

Passenger (2026) starts well. In fact, it starts well enough to make the rest of the film feel even more disappointing. Within the first few minutes, director André Øvredal builds a legitimately effective jump scare. It’s the kind of opening that makes you sit up and assume the filmmaker knows what

Yes, I realize I’m late to the party. For quite a while, I actively declined to watch The Substance (2024). The concept seemed engineered to land at the exact moment when GLP-1 medications, plastic surgery, filters, injectables, and dubious anti-aging treatments had become inescapable parts of popular culture. Hollywood has always

Horror has always been philosophical, even when it pretends otherwise. Its monsters test the boundaries separating human from animal, living from dead, natural from supernatural, and self from other. Horror asks what remains of morality when ordinary social rules collapse. It also forces us to confront an especially peculiar aesthetic

Political satire does not have to be subtle. Dr. Strangelove (1964) doesn’t pull any punches about its stance on militarism and the men entrusted with destroying the world. The Werewolf of Washington (1973) also wants to ridicule powerful men, but it never decides what it wants to say about them. The result is a