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What is it about disaster films that make them so darn entertaining? Is it something that taps into our primal instincts for extreme survival? Is it the many oiled muscle shots of Dwayne “The Rock” Johnson?
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Aside from a beginning temporarily unraveled by questionable editing choices, “Spider-Man: Far From Home” is able to spin twisty webs of teen romance and superhero drama.
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Gilroy’s latest project, “Velvet Buzzsaw,” marks his most outrageous concoction yet: A satire of the uppity, incestuous world of modern art trading that collapses into an out-and-out horror movie.
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The forecast for the next week in Berkeley is looking pretty rainy and foggy, and that has always been my favorite look for Berkeley. Spend Wednesday walking to a cafe and listening to a playlist full of romantic comedy songs.
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You can either watch it all begin again, or you can call it how you want. Sounds like a Taylor Swift album in the making. Take the Clog’s quiz to find out which T. Swift album best represents your 2019 resolutions.
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Dano and Kazan tackled this adaptation with simplicity — which is about the most daring cinematic choice they make. “Wildlife” is sometimes powerful and other times just boring. The film is not inundated with sappy montages or manipulative music, but sometimes you wish it was.
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After almost two decades of working in front of the camera, Dano made the jump from actor to co-writer and director in his latest film, “Wildlife.”
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French director and co-screenwriter Jacques Audiard sets out to upend some of the Western tropes for his first English-language picture, “The Sisters Brothers.” This venture is executed with inconsistent flourish, however, and some revisions can feel weightless.
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If the recent string of celebrity cameo music videos have left you hungry for more, here are some suggestions to satisfy your craving.
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Though thoughtful and innocent at times, the film juggles too much, attempting to critique both capitalism and its opponents but with little resolution on either side.
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