sci-fi
Good editing or not, Corwin’s impressive, ambitious work in Don’t Look Up is at least highly expressionistic and motivated.
The Sacred Spirit hooks you with its moody, deceptively elusive presentation brilliantly structured with a tactful eye for detail.
I dare anyone to watch the ending of The Iron Giant and test to see if their eyes stay dry. I know I wasn’t able to.
Waterworld is not perfect, it’s not as well-crafted and clever as the Mad Max franchise it’s clearly based on, but it is a great time.
With Seobok: Project Clone, it’s all too easy to be emotionally invested in their journey together, even in such an altogether generic film.
The Long Walk is a rich, complex tapestry of a film, woven together with elements of horror and science-fiction.
Last Survivors may fade to the recesses of your mind, but for a moment it may make you reevaluate your own idea of survival.
Coupled with strong performances and talent behind the camera, All of Us Are Dead is a binge-worthy venture.
Made pre-COVID, Iuli Gerbase’s The Pink Cloud is about two people forced into lockdown together when a toxic pink cloud envelopes the world.
The Matrix Resurrections is a curious and fascinating sequel, one which is completely aware of its own existence but also confused about why it exists.
Adam McKay has crafted a harsh examination of our treatment and lack of action of the environment we live in, one that is sure to push the conversation.
Thus far, Marvel and Disney’s Hawkeye is proving to be an entertaining romp that doesn’t feel as bound by the MCU timeline.
An elegy not just for the human race but for the great artist that brought it to the screen, Last and First Men is a striking meditation on mortality.
In the first Animation Sensation, Dallas Marshall reviews Wizards, that while flawed, is worth checking out just for its audaciousness alone.
It’s films like Angel’s Egg that make the critic feel like a charlatan, aimlessly looking for patterns in the entrails.