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  • The Dead Don't Die

    The Dead Don't Die

    ★★½

    Conceptually, Jarmusch's approach to his chosen subgenre in The Dead Don't Die is interesting. By now, the most common zombie-movie convention—that nobody in our pop culture–saturated modern day has ever heard of zombies before the flesh-eaters destroy civilization—is rightly regarded as a bit silly. Jarmusch's characters, on the other hand, know they're in a zombie movie. This permits the film to dispense with scenes where the audience must amuse themselves while the naifs onscreen have the concept of zombies explained…

  • Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

    Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

    ★★★★½

    Film #2 in Seeing & Believing's Summer of Stan.

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  • The Witch

    The Witch

    Almost two months after I've seen this movie, I'm still trying to decide what I think of it. It's certainly effective, accomplishing everything it sets out to do. Robert Eggers is scarily self-assured at the helm of his first feature film, creating an atmosphere of uncanniness and spiritual dread that is unwavering and flawlessly oppressive. If The Exorcist is a horror movie for Catholics, then The Witch is a horror movie for Protestants: Because the individual (not the institutional church)…

  • Midnight Special

    Midnight Special

    ★★★★

    The plot is the weak link in Midnight Special: try not to think too hard about how and why Alton's special abilities work the way they do, or about why the cult just sort of evaporates as the story proceeds toward its climax. The film is much more concerned with atmosphere (David Wingo's score is the highlight here), character, and emotion. Witness Roy's (Michael Shannon) final moment with Alton, or the halting attempts by Lucas (Joel Edgerton) to explain the…