Eugene Weekly

It’s been a while since a major studio movie has been as divisive as Darren Aronofsky’s Mother! There is no spectrum of audience appreciation for … Continue reading →

Beach Rats is a lot of things in one film: beautiful, ominous, crushingly sad, tender, lonesome, scary, new and yet too familiar. Its contradictions are … Continue reading →

I read Stephen King’s It when it came out in 1986, and even if that’s suddenly a hell of a long time ago, I do … Continue reading →

My favorite moment in writer-director Taylor Sheridan’s new thriller Wind River comes at the very end of the film. Cory Lambert (Jeremy Renner), a Fish … Continue reading →

The Big Sick is an odd duck. As a romantic comedy, it is neither very romantic nor particularly funny, despite the fact that one of … Continue reading →

About 20 or 30 minutes into writer-director Gillian Robespierre’s new film Landline, I started tearing up, and I continued tearing up intermittently throughout the rest … Continue reading →

There is a tendency in Hollywood to profit from Black suffering — think 12 Years a Slave, The Help, Django Unchained. These films are prevalent, … Continue reading →

I went to see Atomic Blonde twice — in part because, halfway through the first viewing, I realized I wasn’t paying attention to the plot. … Continue reading →

A masterpiece can be a hard thing to overcome, especially when it occurs early in an artist’s career. For my money, director Christopher Nolan’s second … Continue reading →