Everything Everywhere All At Once reveals that on the other side of finitude is chaos—and love.
Screen Time
Kathryn Reklis explores film, TV, and more
Watching the Pixar movie alongside Euphoria and Yellowjackets made me appreciate the exuberant intensity of Mei’s embodiment.
He carries the hesitant masculinity of Twilight’s Edward Cullen in his body.
Watching the destruction of the world we were warned was coming is a staple of American entertainment.
With the world as they knew it gone, the characters remake the world from the resources they carry inside them.
In her new movie, the filmmaker’s fascination with the myth of masculinity unfolds in 1920s Montana.
The White Lotus is part of a growing subgenre that probes extreme wealth as moral deformity.
Rutherford Falls gambles on humor to sort out White blindness. Reservation Dogs ignores the White gaze altogether.
Church celebrity is complicated.
Both movies made me grateful for directors with risky, new visions—and the space to enjoy them.
Mythic Quest and Call My Agent have me feeling nostalgic for annoying colleagues and pointless meetings.
In Hacks and Mare of Easttown, it’s thrilling to watch an aging woman on screen.
Still, I wish Lin-Manuel Miranda had asked more of us.
It’s not just about entertaining the kids.
What happens when a genre series is detached from its White colonialist context?
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