This isn’t a Star Trek spoof for a Star Trek lover (please see Galaxy Quest). This is a spoof of a spoof. It’s like the Russian nesting dolls of the general population’s expectations of Star Trek and Hollywood.

That Rebecca and I like this movie and that we find it worth discussing and that we find ourselves actually defending Meyer and daring to call her a feminist is a testament to the strong guts of this polished turd.

There amongst the neon lights and omnipresent voiceovers and bizarre scenes of girls pirouetting about with shotguns in nothing but bikinis and pink ski masks there is a modern-day fable that is touching, exciting and very, very funny.

I’ve watched Catherine Tate and Emma Thompson cry and wail through it and I’ve watched Sarah Parish rage through a modern version, but then Amy Acker pounds her fists against Denisof’s chest and unearths the fury of an entire sex.

Shane Carruth’s new film, Upstream Color, rejects narrative even as it embraces it and presents us with sound design so omnipresent it demands a new term to describe it.

Why would that guy be rolling like a stone down a hill? Well, it’s the body of L. Frank Baum, the son-in-law of a suffragette and early feminist, and he’d would be incredibly annoyed that his series of books specifically written to encourage young girls was transformed into a story about a douche trying to get his dick wet.

Fede Alvarez’s update of Sam Raimi’s Evil Dead is blood and gory but stumbles badly in its attempt to update the story and give us a fun female heroine.

The wit of this film, the caliber of the actors, the extraordinary visuals, and yeah, definitely the gender politicking put some meat on the bones of this paranormal romance.

The filmmakers manage to avoid nearly all of the pitfalls of the psychotic mother trope in Mama while telling a scary tale of two adoptive mothers.

There is a war waged in Tom Hooper’s Les Miserables that goes beyond the rebellion in the streets of Paris. Hooper’s adaptation of one of the most popular stage musicals of all time is a clear battle between bold theatricality and the hyper-realism. He wants to embrace realism and have every lyric spit out in [...]