Review: Malcolm and Marie (2021)
Filmmaker Malcolm (John David Washington) is having a good night. The premiere of his debut film as writer and director...
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Review: Sex/Life (2021)
Maybe it says more about me than it does about Netflix’s eight part sexed-up soap opera, but that “High Impact Sex Scen...
Review: Masters of the Universe: Revelation (2021)
The real magic trick that Kevin Smith (yes, Clerks’ Kevin Smith) and his team perform with Netflix’s new Masters of the...
Review: Old (2021)
I’m kind of enjoying this third act of once-vaunted genre auteur M. Night Shyamalan’s career. Having made his bones ...
Review: Gunpowder Milkshake (2021)
We are very much living in a post-Wick world. Gunpowder Milkshake is not the first film to try and borro...
Review: Black Widow (2021)
After Captain America: Civil War, but before The Avengers: Infinity War, Natasha Romanoff (Scarlett Johansson) is on th...
G.I. Joe creator talks Snake Eyes: “Even the kid that went out for coffee turned it down!”
Often the greatest creations of our time come from the most humble of beginnings, which, as Larry Hama puts it, can be ...
Richard Donner, father of the modern superhero film
I woke this morning to the news that director Richard Donner had passed. He was 91, which is a pretty good run by a...
The Periodic Table of Awesome – Friday Fast and Furious Fun Times
I wind up doing all kinds of ancillary nonsense from time to time, and sometimes there's a video footprint of said nons...
I Lived in a Murder House
One of the things we take for granted since the rise of social media is the ability to simply stay in touch with people...
Noah Hutton Talks Lapsis, the Gig Economy and Blue-Collar Sci-Fi
In the world of Lapsis, the switch to quantum computing has opened up a new sector of the gig economy: laying fibr...
Jeremy Saulnier: Chilling in the Green Room
One from the vaults, first published in Filmink almost exactly five years ago on May 13, 2016. In the terse, savage ...