With the world as they knew it gone, the characters remake the world from the resources they carry inside them.
Kathryn Reklis explores film, TV, and more
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?
First Cow, Bacurau, and Nomadland reveal the stark racism of classic American Westerns.
It’s a screwball comedy about pandemic life! Pandemic life without kids, that is.
Set 40 years apart, Ma Rainey’s Black Bottom and One Night in Miami ask similar questions.
But the movie would be stronger if it skipped the metaphysical realm and just stayed put in Queens.