What can only be described as a fervently anticipated reclamation of an artist’s vision, Zack Snyder’s Justice League is a unique beast not just among comic book adaptations, but filmmaking in general. More than just a simple director’s cut, Justice League - or The Snyder Cut, as it’s been affectionately dubbed by fans - is a lumbering, bloated, and generic superhero epic, but it’s also a massive improvement over its 2017 iteration. Stripped of its director’s trademark grimness and imbued with a surprising amount of heart, Zack Snyder’s Justice League is finally the big screen team-up worthy of its iconic characters. Minor spoilers ahead…

Gorgeously realized with Disney’s signature heart and warmth, Raya and the Last Dragon is another feather in the animation studio’s cap, even if its muddled representation and thin plotting occasionally get in the way of its emotional beats. An epic action-adventure with an all-Asian voice cast, Raya balances its huge stakes with human moments and particularly charismatic performances from Kelly Marie Tran, Awkwafina, and Gemma Chan. Minor spoilers ahead…

Bloated, over-produced, and underwritten, the Russo Brothers’ latest film - based upon Nico Walker’s novel of the same name - is a self-indulgent exercise in filmmaking hubris. The very definition of style over substance, Cherry is a lurching homunculus of artifice that never feels authentic, not even for a second. With nothing to say about any of the serious subjects it broaches, Cherry is prime contender for one of the worst films of the year. Minor spoilers ahead…

Rosamund Pike shines in J Blakeson’s pitch-black neo-noir, I Care a Lot. Biting, cynical, and featuring a welcome return of the villain protagonist, the film finds exhilaration through wickedness and hairpin turns, even if its messaging remains muddled. I Care a Lot balances on the knife’s edge - not always successfully - with its unrepentant characters, but through slick construction and a bevy of crackling performances, it’s remarkably efficient at finding glee in moral vacuum. Minor spoilers ahead…

After a much-maligned turn remaking Alfred Hitchcock’s Rebecca for Netflix, filmmaker Ben Wheatley returns to form with the brutal and psychedelic In the Earth. Lush and violent with tinges of Annihilation and Wicker Man, Wheatley’s latest is a harrowing meditation on man and nature. Contributor Diego Andaluz reviews the latest from Sundance 2021. Minor spoilers ahead…

Whether it’s the gala premieres or its NEXT and Midnight titles, there’s plenty of genre fare to go around at Sundance. I watched a ton of films at the festival this year, and even though I would like to, it’s impossible for me to write full-length reviews for everything. So, here’s a special edition of Strange Harbors Capsule Reviews, covering the wide range of this year’s genre films at Sundance. Minor spoilers ahead…

Our Sundance coverage continues with a review for Jerrod Carmichael’s directorial debut, On the Count of Three. With strong performances and impressive construction, the film is deft at combining melancholy with levity, but not all of its humor lands. Our contributor DarkSkyLady reviews the film. Trigger warning: discussions of suicide/attempted suicide. Minor spoilers ahead…

Our Sundance coverage continues with a review for Sion Sono’s gonzo, post-apocalyptic Western, Prisoners of the Ghostland. A refreshing respite from a festival full of heavier fare, the Japanese auteur forms a marriage of his cult sensibilities with the American master of cult performances: Nicolas Cage. A whirlwind of wild violence, candy-colored dystopia, and a plot light on logic but heavy with style, Prisoners of the Ghostland is a cult classic in the making. Contributor Valerie Thompson reviews the film. Minor spoilers ahead…

Our Sundance coverage continues with a review for Rodney Ascher’s documentary on simulation theory. A film that amplifies all of Ascher’s most grating tendencies as a documentarian, A Glitch in the Matrix takes the tedious navel-gazing of Room 237 - Ascher’s cult account on hidden meanings within Stanley Kubrick’s The Shining - and cranks it up to eleven. Largely ignoring a storied bibliography of research, philosophy, and the logical complexities on the subject of simulation theory, A Glitch in the Matrix instead finds satisfaction in a glib slinging of memes and crackpot theories. Minor spoilers ahead…

Our coverage of Sundance continues with Pascual Sisto’s John and the Hole, an arthouse thriller with a style that heavily outweighs its substance. A selection from the festival’s U.S. Dramatic Competition, the film has a unique premise and a disquieting atmosphere, but they aren’t enough to save the it from its thin main character and plot. Contributor Carolyn Hinds reviews the film. Minor spoilers ahead…

Welcome to the Strange Harbors coverage of the virtual 2021 Sundance Film Festival. Siân Heder’s heartfelt curtain-raiser kicks off this year’s program, a radiantly warm tale of a teenage girl navigating the tension-filled territory between individuality and the bonds of family. An American adaptation of the French dramedy La famille Béllier, Coda wears its coming-of-age tropes on its sleeve, but its confident construction and tender performances strike at the heart of what makes convention so effective. Minor spoilers ahead…

Welcome to my coverage of 2021’s Sundance Film Festival! Far away from the hustle and bustle of its usual Park City home, this year’s festival - like many before it - has been transformed into a virtual experience due to COVID-19, but that doesn’t diminish the caliber of its offerings. This year’s festival sees a variety of special film events, such as a robust short film program, a wide selection of genre showings, and gala presentations. This year marks my first year as accredited press at Sundance, and I’m so excited to be able to review a selection from the festival. You can find my entire coverage here.

2020 was a tough year, but movies are still alive - in some regards, they’re thriving. 2020’s A Year in Film mashup is a celebration of cinema’s resilience, but it also aims to capture the melancholy of our times: Heartbreak, bittersweetness, and horror take a front seat in last year’s edit. Don’t let anyone tell you there weren’t enough releases in 2020; this was a year where movies - whether through VOD or streaming - were a perfect escape from the chaos right outside our windows. So pull up a seat and bust out the popcorn as we take one last look at the films of 2020…

2020 has undoubtedly been the dumpster fire to end all dumpster fires, but its cinema was as strong as ever. With almost everyone stuck inside, we consumed more media, content, and streaming entertainment than ever before. But even with theaters on the brink, it didn’t mean that we suffered from a lack of new movies; in fact, with a dearth big-budget blockbusters, 2020 was the year for arthouse films and indies to shine. This year was also a milestone for Strange Harbors, as I was able to (virtually) attend three film festivals as accredited press - an immense opportunity that allowed me to see a large number of the films listed below. We’re all eager to move on to 2021, but before we do, let’s take one last look at the best movies that shaped the last 365 days. Minor spoilers ahead…

Wonder Woman 1984 is one of the most disappointing films of the year. With its weightless action, incoherent plot, and tenuous grasp of common sense, this follow-up to 2017’s superheroine blockbuster is as choppy as they come. There are glimmers of promise with the film’s scenery-chewing villains, but almost everything is undercooked, making its interminable 151-minute runtime even more egregious. Minor spoilers ahead…

Writer and filmmaker Lee Isaac-Chung’s semi-autobiographical drama Minari, which follows a Korean American family adjusting to rural life in Arkansas, is the best film of the year. With equal parts melancholy, optimism, and tenderness. the film finds poetic balm within the chase for the American dream. Minor spoilers ahead…

Playing a thrash drummer grappling with rapid onset hearing loss, Riz Ahmed gives the performance of his career in Darius Marder’s Sound of Metal. With its thoughtful examination of the deaf community and its gripping soundscapes, the film breathes new life into a conventional narrative, delivering a remarkably sensitive cinematic experience. There’s surprising tenderness afoot within Sound of Metal’s emotional tempest, and it makes for one of the best films of the year. Minor spoilers…

Director Aneesh Chaganty’s sophomore feature, Run, is a worthy followup to 2018’s Searching, even if it doesn't match its predecessor’s crafty brilliance. Clocking in at an economical 90 minutes, the film traverses through familiar beats, but its taut pacing and all-in performances elevate it well-above standard thriller fare. A giant step forward for disability representation in cinema, Run finds its white-knuckle suspense through accuracy and care of portrayal: Sarah Paulson gets top billing, but newcomer - and disabled actress - Kiera Allen is the real star. Minor spoilers ahead…