Kathryn Reklis explores film, TV, and more
What started as a summer feel-good movie has opened discussions about embodiment, death, feminist utopias, and whether change can come through consumer goods.
Asteroid City might be the most Anderson of all his films, and I came to it like an acolyte who is doubting the mystery.
These movies about influential consumer objects aren’t really origin stories at all.
Judy Blume’s gift to the world is her insistence that young people can be trusted as capable moral agents.
Hate, like love, it turns out, is a many-splendored thing.
Hirokazu Kore-eda’s characters find and create families in the margins of late-stage capitalism.
Like Drunk History and History of the World Part II, Cunk on Earth is very funny. But the larger joke is that fake news is winning.
She Said and Women Talking examine the collective power of women’s words for a MeToo era.
A murder mystery can provide sharp social commentary—and great fun.
Speculative fiction, at its best, can inspire collaboration by artists and writers and ordinary fans.
Todd Field’s movie about a megalomaniacal musician is, like his earlier films, interested in moral ambiguity.
Both movies critique the assumption that survival requires dominance.
The fantasy of Severance is that we can avoid facing the moral peril of the structures we inhabit.
Fire of Love is an unusual science documentary.
The latest film seems to have forgotten one of the delights of dinosaur nerdery: imagining the world without humans.
Mr. Malcolm’s List and Bridgerton offer flimsy historical fantasy. Fire Island goes deeper.
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