Doctor Strange in the Multiverse of Madness is a movie that could only exist this deep in the Marvel phenomenon. It doesn’t flow or function like an actual movie—it heavily assumes you’ve seen so much media. It doesn’t give you time or an adequate explanation for half the stuff that happens.
my positive reviews of media like The Magnus Archives, Black Mirror, and The Twilight Zone weren’t a clear indication, I have a particular fondness for anthology storytelling.
The Old Guard is perfect at what it wants to be. It’s an action movie with a tight fantastical premise and stellar execution. By chance, I saw a five-minute scene and was immediately hooked.
The Tomorrow War has a fantastic premise, talented actors, and stellar effects, yet it never comes together properly. The enthusiasm for its own appeal wanes, and it becomes a shell of a movie, running on formula and tropes.
The Matrix Resurrections is disappointing. This one sentence sums up the bulk of my opinions. I had such high hopes, especially with how good the first movie was, but I wasn’t feeling it by the end.
Going into Moon Knight, I had few expectations. I wasn’t familiar with the character. All I knew about them was that Moon Knight had more than one personality, and at least one of them had superpowers.
The Hollow is a decent enough show mired by gimmick issues. The biggest one is its reliance on the “Mystery Box” model.
Too long ago, I announced a series where I would periodically review a few movies from the Dust YouTube channel. Well, it’s finally time to return. I’ve selected three short films. Each is different. Each is exciting. And each shows a wildly different future.
Before listening to The Storage Papers, I never thought a podcast could scare me as much as The Magnus Archives. That the mind-melting, the dark-is-dangerous thrill it gave me was the peak of horror storytelling.
Spider-Man: No Way Home is the type of movie that could only exist in this new media environment. The draw is the spectacle of connecting reboots and pulling in actors to reprise long-gone roles.
Ghostbusters: Afterlife has several excellent moments, a great protagonist, and a heartfelt core, yet is underwhelming in a lot of ways. Those who watch it will remember it mainly for its fan service, and though that’s kind of the point—it’s not great we have a lot of movies made with that in mind.
My reviewing of Turning Red has to, by the sheer presence of its theming, contain caveats. It’s a movie that has a heavy focus on periods and mother-daughter conflicts during adolescence. As an adult male reviewer, it’s not my place to speculate on how true to life this movie is. I’ve simply not grown up as a teenage girl.
