No Content For Old Men

James Cameron’s long-awaited sequel to the most successful movie of all time is a big fat hit. I didn’t like it. Let me explain why.

Sight and Sound released their once-per-decade poll of the greatest movies ever, which says less about film history and more about our current moment of internet hot-takery online.

When’s the last time you watched a cannibal love story? Well hey, this one has Timothée Chalamet! It’s gross but good. Give it a shot.

Finally, the algorithmic movie machine spit out two movies tailor made for me. Of course I fell for their charms. What does that say about the rest of the movie landscape? Let’s discuss.

The biggest commercial movie of the year and the biggest critical darling have come out on the same weekend. They’re totally different in every way but one, and I gotta talk about it.

Why are there so many autobiographical movies coming out about the childhoods of directors? Look at the market forces and decide for yourself. Plus my thoughts on “The Good Nurse,” “Rosalind,” and two streaming suggestions you’ll love.

I’m back after a two week break and catching up on all of the newest releases, which finally included the first worthy entry into awards season, a harrowing war movie and a feel-good rom-com. Enjoy!

The big releases of the week are both major bummers. Why are screenwriters so obsessed with trauma? Let’s discuss.

Off-screen drama has overshadowed Olivia Wilde’s latest movie. Brilliant marketing tactic, or career anchor? If the movie’s quality is any indication, I’ll bet the latter.

Is that a good thing? Plus full reviews of the David Bowie documentary “Moonage Daydream” and the whodunit “See How They Run.”