Portside

Darren Aronofsky’s Caught Stealing sees the typically pretentious auteur shift gears toward fun and violence in late 1990s NYC. It’s a throwback to gritty 1970s filmmaking but set in the Giuliani era — the perfect setting for downwardly mobile 2025

Spike Lee’s Highest 2 Lowest attempts to remake a beloved Akira Kurosawa film about the injustices of a class-stratified society all while sidestepping class. Even Denzel Washington can’t save this misfire.

The Talented Mr Ripley gets an upgrade in a buzzy and biting film about a desperate outsider who infiltrates the inner circle of a singer on the rise

The internet has robbed the world of much of its mystery and replaced it with the jaded cynicism of online grifters. Kiyoshi Kurosawa’s film Cloud explores this bleak world dominated by people who just can’t log off.

He sees Dracula as fiction’s ultimate capitalist victimizer, exploiting the lifeforce of others for his own pleasure, whether financial or physical. But the vampire has been exploited by plenty of capitalists as well, especially those in the movies.

Ari Aster’s new film, Eddington, pulls no punches against the Right or the Left. Yet its message is anything but moderate.

Jaws is rightly celebrated as a landmark, generation-defining hit. But it’s not sufficiently recognized as a great 1970s film, exemplifying that rocky decade’s political ire, acerbic social critique, and the lingering practices of realist cinema movi

The film is essentially broken into two halves: the rising tension of the region's pandemic policies and the early Black Lives Matter protests and the disinformation spread through the internet

Accusations that James Gunn has “politicized” Superman come laughably late, as the world's most famous superhero has always been political, write narrative strategist Andrew Slack and Pulitzer Prize-winning journalist Jose Antonio Vargas.

‘Superman’ is the story of America,” Gunn explained. “An immigrant that came from other places