Ryan Syrek

Fitting, given that Homer is listed on its IMDB page: Christopher Nolan’s The Odyssey finally settles an age-old question. In a shocking turn of events, acting is

Call it “not doing my homework” or being mildly oblivious and overly busy, but I walked into Motor City not knowing it had a crazy gimmick. I knew that it was a revenge-action soap opera starring the endlessly endearing man-mountain Alan Ritchson. I did not know it was dialogue-free (or insanely close to it). In a way, this was a great test to see if the central conceit felt forced or seemed natural and cool.

The collision between an impossible expectation of objectivity and deep passion/knowledge of a subject can make for a helluva complicated film review, am I right Emily Wilson? Spider-Man is no Odysseus and Spider-Man: Brand New Day is no Odyssey …to other people. But in my life, no mythological figure has loomed larger than old webhead, and no story has taken up more space in my psyche than Peter Parker’s never-ending quest to be responsible and kind, while sometimes making jokes that only he finds funny.

FDA approves lutetium Lu 177 vipivotide tetraxetan plus ARPI for metastatic hormone-sensitive prostate cancer, expanding treatment options.

Explore the latest FDA fast track and priority review designations granted in July 2026, accelerating the development of promising treatments.

Whether or not the term “elevated horror” should be used to describe any of the more thoughtful entries in the genre, there is no arguing that writer/director Adrian Chiarella’s Leviticus is “elevated.” At least in the sense that it towers far above It Follows, a movie that it will be inevitably compared with. Okay, fine, maybe you can argue about that. But you definitely shouldn’t argue with me about it, as I am gonna be simply wildly unpleasant during that conversation.

My ire for It Follows remains unparalleled. I can, have, and will again rant about how overrated writer/director David Robert Mitchell’s debut film is and

What I love more than anything about writer/director Jane Schoenbrun’s films is that I largely do not understand them. That is a sincere compliment! They aren’t baffling in the sense of being poorly made or confusing. They are befuddling because of how concretely they encase me inside an experience so far outside of my own.

Thanks to (gestures at everything), the phrase “too on-the-nose” is a criticism that outlived its usefulness far before a movie about how corporations are bad was shelved for a tax write-off by a real-life corporation. It’s still funny though! Coyote vs. Acme is only in theaters because a dedicated, vocal fanbase and grassroots movement got it released. This is what counts as a win these days, people. So, I don’t know, vote or something?

For those of us who rejoice in ludicrous sci-fi shenanigans and need little in the way of “character” or “story,” writer/director Na Hong-jin’s Hope is very nearly something special. Almost as funny as it is grotesque, often operating in both of those spaces simultaneously, the film has very big ideas and very little interest in explaining those ideas.