One Night Only imagines a world where sex is only permissible once a year, splitting the difference between fun comedy and puritanical views on intercourse.
No Sex Please, We’re American
Sketches
Sweet and earnest dives into the bowels of cinema.
In Disclosure Day, Spielberg Goes Astray
Steven Spielberg’s latest original science-fiction is a return to familiar territory, yet it pales in comparison to the famed directors’ greatest works.
Cannes Is In Crisis
Between weak films, absent Americans and a French cinema on the brink of collapse, the Cannes Film Festival appears to be facing a rare crisis of authority.
Something Rotten on the Isle of Anglesey
A romantic trip to the Welsh goes horribly wrong when emails from a deceased ex-boyfriend threaten to derail everything in Worm, Ned Caderni’s assured debut.
Michael, Stop. We’ve Had Enough.
In our first edition of Double Take, Redmond and Jared discuss Antoine Fuqua’s misguided and insidious Michael Jackson biopic.
“You never see factories in cinema” — Christian Petzold on Miroirs No. 3
Christian Petzold sits down with Journey Into Cinema to discuss Miroirs No.3, arguing with his family, and why repairing things is the opposite of capitalism.
10 Best Films 2025
From One Battle After Another to Den of Thieves 2: Pantera, Sirāt to Pillion, here’s Redmond Bacon and Jared Abbott’s picks for the best films of the year.
Cult Classic Twin Cheeks: Who Killed The Homecoming King? Finally Reemerges From Its Camcorder Swamp
Kelly Hughes’ long-unavailable and unique queer outsider artwork Twin Cheeks: Who Killed the Homecoming King? finally makes its way back into the public eye.
A Diamond on The Hudson
Craig Brewer’s Song Song Blue is a surprisingly powerful musical biopic that rests upon the remarkable easygoing charm of Kate Hudson.
Keeper Away
Osgood Perkins’ lazy “cabin in the woods” horror Keeper is a tale about almost nothing at all, with almost nothing to enjoy.