Worries that “Joker” — the new movie from Warner Brothers documenting one possible origin of Batman’s nemesis, the Clown Prince of Crime — would spark violence from disaffected young men in the “incel” community, were remarkably overblown. There was no violence and the film broke box office records. More importantly, though, the Joker isn’t an inspiration for incels at all. Rather, he’s the forefather of Antifa.
Across the political spectrum, we can agree that cartels are a danger, to Americans and immigrants alike. So why do left-leaning critics decry stories about them?
If you don’t defend the right to be offensive no matter the situation and no matter the stakes, you create a situation in which the right to offend slips away.
Of all the complaints that could be leveled against “It: Chapter 2,” the most curious is that its opening moments represent a case of stark homophobia.
Though not quite ignored at the box office or roundly dismissed by critics, “Public Enemies” deserves more acclaim and recognition for acutely capturing life in a time of turmoil and change.
"The Matrix" was the absolute perfect movie for its moment. Can a sequel hit the same sweet spot?
Paranoia in American life has reached fever pitch, despite the fact that we can’t decide what, exactly, to be paranoid about.
As “Once Upon a Time … in Hollywood” becomes Quentin Tarantino’s latest movie to pass $100 million at the domestic box office, let’s take a moment to appreciate a stinging bit of satire in the film recognizable by anyone who has paid attention to box office figures and multiplex offerings over the last few years.
Exclusion is baked into the internet. It is the original sin of cyberspace.
Steve McQueen's "Widows" insists that there's no bigger scam than politics.