Discovering good movies, one bad movie at a time

The Father is the most miraculous kind of film adaptation of a theater piece: one that’s almost impossible to imagine being staged live. In principle, sure, one can ponder how this exact screenplay might be fitted into a theatrical space, and how it could use stagecraft to get at the same sense of slithery, unstable […]

Among the very first conversations – maybe even the first conversation – in Supernova finds an old couple, Sam (Colin Firth) and Tusker (Stanley Tucci) lightly sniping at each other over Sam’s driving, and his refusal to ever shift out of a low gear to actually start moving the RV they’re in at something resembling […]

I have had cause to mention multiple times now that the tradition of regarding Fanny and Alexander as Ingmar Bergman’s final film is almost entirely a matter of sophistry, but the biggest sophist of all was Ingmar Bergman himself. When his 1984 telefilm After the Rehearsal was released theatrically basically everywhere in the world other […]

Minari won both the Audience Award and the Grand Jury Prize – Dramatic at the 2020 Sundance Film Festival, and this is extraordinarily appropriate. It checks all the boxes of a stereotypical Sundance indie so hard that I almost can’t think of the last film to check them harder (not even the 2021 winner of […]

CODA is unbearably cloying and contains barely a single narrative beat that isn’t an ossified cliché. Naturally, it has been greeted with rave reviews and a spirited bidding war in the wake of its opening-night premiere at the Sundance Film Festival; elevating sentimental schlock made with little more than the most functional artistry has been […]

Kirsten Johnson’s 2016 feature-length documentary Cameraperson is one of the great non-fiction films of the last decade, a personal memoir that doubles as an inquiry into the “meaning” produced by the photographic moving image. For a while, it seems like her follow-up, Dick Johnson Is Dead, will end up splashing in similar thematic waters, as […]

I have noted many a time that it is a particular privilege of genre films to comment on society, politics, and humanity much more craftily than the blunt-force lecture of more traditional message movies, but there’s no reason they can’t be pretty damn blunt themselves. And so it is with La Llorona, a Guatemalan film […]

To give credit where it’s due, Sound of Metal gives you a lot of movie for the money: three movies, in fact, by my reckoning. And the first two of them even fit together pretty smoothly. What this third, aberrant movie means for the whole is something we’ll get to a bit later, although I […]

A review requested by Martha, with thanks to supporting Alternate Ending as a donor through Patreon. Do you have a movie you’d like to see reviewed? This and other perks can be found on our Patreon page! There aren’t too many formulations that make me instantaneously suspicious of a movie more than A) a story […]

The winner of the latest round of voting in the poll to select what 2020 wide release I should watch and review next. Vote in all the “Movies I Missed in 2020” polls if you want to control my, and the website’s fate 2016’s The Boy isn’t a very good movie, but for a horror […]

A finalist in the latest round of voting in the poll to select what 2020 arthouse film I should watch and review next. Vote in that and the other polls if you want to control my, and the website’s fate Pablo Larraín, probably the most prominent Chilean director in the world right now, has at […]

Every film director in the history of the medium has made, or will have made, their final film. Most of them scrape out some dumb nonsense, the kind of half-assed project that a fading, aging artist can get financed. The lucky ones are able to do so at least semi-knowingly, ending their career on a […]