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For decades, Godzilla movies have been about one thing: people in giant rubber monster costumes stomping around tiny little sets. Especially in America, where the films that Toho made for its native Japan were imported as badly dubbed B-movies, Godzilla felt more like Saturday morning escapism than proper art. Of

“We are the future, Charles. Not them.” When Ian McKellen delivered this line in 2000’s X-Men, he did so as Erik Lehnsherr a.k.a. Magneto. By “we,” he meant mutants, people who develop incredible powers at puberty; by “them,” he meant the rest of humanity. But the phrase may very well

Even in these days of endless entertainment options, it’s hard to turn on a TV and not see a cop. Police have been a mainstay of the medium since the now-lost series The Plainclothesman debuted in 1949, and especially when Dragnet made the jump from radio to television two years

Movies need a reason to happen, and said reason can’t always be an external force leaving a character without a choice. We always prefer to follow characters that decide their fate, even if their decisions lead them to end up worse than how they started. In hindsight, the safest option

Action heroes are supposed to sprint across rooftops, trade punches with trained killers, and survive impossible odds. Yet Hollywood has increasingly asked audiences to believe actors well into their sixties, seventies, and even eighties could still do it all. Granted, many relied on stunt doubles, careful editing, and decades of