Movies
Reviews
Two films are in cinemas right now that have ties back to Arnold Schwarzenegger.
Predator: Badlands opened this past weekend to a rather positive reception, the third in Dan Trachtenberg's (10 Cloverfield Lane) reboot of the Predator universe after Prey and Predator: Killer of Killers.
Tron is a film series that was pioneering and inventive, universally hailed as innovating but never quite appreciated enough while playing in the cinema.
Roofman is my favourite thing that I've gotten to review in a long time. No disrespect to the film industry, but the last 10 years have been pretty heavy on watching franchise material.
Troma Entertainment opened its doors in 1974 and – like Roger Corman, who created B-movies and served as a proving ground to great talent – launched the careers of innumerable talents in front of and behind the camera: James Gunn, Eli Roth, Samuel L. Jackson, Vincent D'Onofrio, and Marisa Tomei to name a few.
Created in 1958 by Belgian artist Peyo, the Smurfs first appeared in le journal de Spirou, an anthology magazine which was the home of many respected artists over the years. They first landed in animation in 1961, but I came by the Smurfs in the 1981 wave of Smurfy fandom.
Going into the film Materialists, I didn't know much about the film. The buzz seemed to imply it was a romantic comedy. What I did know was the writer/director Celine Song had once reenacted the Chekhov play "The Seagull" on The Sims 4 and streamed it on Twitch.
Review: Mission: Impossible - The Final Reckoning
Posted by: Andrew Lizotte • May 17, 2025 @ 12:40pm
As a film critic reviewing an action franchise, I feel like you already hate me. It's assumed that I'm going to dunk on this movie, because my tastes are inherently going to be pretentious.
Written and directed by Andrew DeYoung (Our Flag Means Death, I Love That for You), Friendship is the ultimate fake out.
Andrew Ahn's The Wedding Banquet is a reimagining of Ang Lee's film of the same name sharing surface similarities, but that's where they end. 2025's version (co-written by Andrew Ahn and James Schamus) – like the 1993 version – follows members of the Asian diaspora living in queer relationships while dealing with marriage and childbirth.
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