Had the film committed to going in either the thought-provoking or the amusement direction — or if the film had committed to doing both aspects stronger — it would have been better. As it stands, however, “Drop” is still an engaging movie built around a fascinating premise.
Fargeat's and Moore’s efforts in "The Substance" turn the film into a palpably sincere, raw representation of the inner thoughts of women working in the industry. The greatest takeaway from the film and Demi Moore’s journey is that there is no timer on success.
Even though the show lacked excitement, the winners did not. I was ecstatic to see “Anora” sweeping the Oscars rather than the anticipated “Emilia Pérez.” This year’s show demonstrated that there is a chance for small yet deserving filmmakers to make a splash and dominate Hollywood’s biggest night.
With March Madness in full swing, movies are an excellent way to immerse yourself in Duke basketball spirit during the sad periods between live games. Here are a few films beloved by several Duke Men’s Basketball players and coaches, all mentioned by players and coaches on The Brotherhood Podcast.
While “A Real Pain” is a phenomenal film that also does a wonderful job of providing a fresh perspective on the Holocaust, it also finds itself stuck in the same rut as other Holocaust films.
Ultimately, “The Phantom Menace” is a movie that spreads itself too thin, not committing itself to characters or politics, and thus, prioritizes reference over substance, symbol over meaning.
The Academy is considering requiring AI-usage disclosures for the 2026 awards to increase transparency and give voters more information to guide their decisions. This move could pave the way for future smear campaigns centered on films' AI use, either due to organic discourse or corporate maneuvering.
Shakespeare’s plays have the rare ability to draw together comedy, romance and tragedy: the essential ingredients for a romcom that together form a foolproof formula for a wonderful film. Maybe Shakespeare, and Shakespeare-inspired works like “Ten Things I Hate About You,” will be the unlikely heroes of the romcom genre after all.
For hardcore Marvel fans, “Captain America: Brave New World” is a must-see and necessary for keeping up with the ever-expanding web of MCU stories. However, for the casual Marvel viewer, this film is a let down, providing insufficient entertainment, tolerable visual effects or fun moments to keep it engaging or worth watching.
“Green and Gold” can only sing in church. The 2025 film has the type of voice that knows what notes it has to hit and often hits them, but shows no genuine heart outside of the people, place and culture it draws its life from.
Considering that the 96th Academy Awards featured strong, record-breaking contenders across the board, this year’s show is a bit of a let-down.
Wolpert and Monetta talk about why they made "Anyone But You," the process itself and potential next steps.
Overall, “Nosferatu” is another great Eggers flick and one of the best Gothic horror pieces of recent memory. More than being a great genre piece, this film projects powerful thematic messages.
“The Brutalist” is as much the text itself — a story of a Holocaust survivor and talented architect, Laszlo (Adrien Brody), who makes his way to the U.S. and befriends a powerful patron, Van Buren (Guy Pierce), of his art — as it is a metatextual argument for the future of filmmaking.
While I hope Clint Eastwood keeps making movies, I realize that, at the age of 94, he may not be able to. Juror #2 is a fitting end to an accomplished and prolific Hollywood career that builds on themes Eastwood has explored for decades. His message may be bleak, but it rings unnervingly true.
Baker created a deeply captivating and entertaining film that is simultaneously thought-provoking. Although the film ends with a somewhat cliché changing of seasons and first snowfall, the piece as a whole is unique and manages to perfectly balance complexity and somberness with engaging humor.
Bloated and talkative for a film where two separate characters emphasize their lack of skill at oration, “Gladiator II” is messy and imperfect. However, it is also enjoyable and argumentative — most often with itself.
As we celebrate its quarter-century of life, I admit that there is one rule of “Fight Club” that I would change: we should talk about “Fight Club,” because now more than ever, its ideas deserve a seat at our table.
While holiday horror may be a collection of usually mediocre, only slightly unique films, that doesn’t mean they are outright worthless. Instead, holiday horror makes up a notable part of a genre that is entertaining at its worst and truly engaging at its best.
“Conclave” finds itself in physical and intellectual spaces that its thematic and argumentative self could never hope to fill.
