Eileen Jones is a film critic at Jacobin, host of the Filmsuck podcast, and author of Filmsuck, USA.
With the UAW’s historic strike wins this week, we look back at the history of US auto manufacturing in movies — with a focus on films that show how the auto industry has tried to shaft workers over the decades.
Martin Scorsese’s Killers of the Flower Moon is an admirable, thoughtful film. But it lacks the wild, old Marty energy that brought us so many Scorsese classics.
Netflix’s resident horror auteur is back with his take on Edgar Allen Poe’s The Fall of the House of Usher. You’ll have a good time — even if some of the nods to “sociopolitical relevance” might send your eyes rolling.
American cinema was once full of formidable, charismatic older women. What happened to them?
In The Wonderful Story of Henry Sugar, the first of four Roald Dahl mini adaptations, I was hoping for something like Fantastic Mr. Fox — but it’s the same old Wes Anderson. Still, he claims it took “years to decide how to shoot the story.”
Director Craig Gillespie’s new film Dumb Money transforms the 2021 GameStop short squeeze into a rousing comedy about everyday Americans turning the tables against the financial elite. It’s the best “COVID movie” so far.
El Conde is a fantastic satirical movie in which the late Chilean dictator Augusto Pinochet stars in black and white as a ravenous vampire. Yes, you read that right.
An Agatha Christie murder mystery has once again been made a mess by director Kenneth Branagh, this time with A Haunting in Venice.
LaKeith Stanfield is great in Apple TV+’s new horror-fantasy series The Changeling, based on the best-selling novel. The show itself, though, is a convoluted mess.
The new HBO docuseries Telemarketers is a wonderfully weird trip through a scammer call center that swindled money for police and lined the pockets of a clutch of entrepreneurial creeps. You should watch it right away.
The gritty 1930s crime dramas of Rowland Brown offer contemporary movie watchers something they won’t easily get elsewhere: an adult ability to look directly at an infinitely corrupt world without flinching.
Making the leap from four-paneled comic to animated series, Nathan W. Pyle’s Apple TV+ show Strange Planet drowns its unique and subtle charms with far too much plot, character, and story. It’s unfortunately boring as hell.
Paul Reubens and his brilliant character Pee-wee Herman offered viewers a kind of weird, joyful, hilarious television and film that we aren’t lucky enough to get very often.
With a clever opening sequence and an excellent cast, Barbie manages to overcome cumbersome plotting and feminist pieties to provide a delightful spectacle of funny moments that add up to something pretty good.
Oppenheimer ignores the darker sides of the life and work of J. Robert Oppenheimer in order to deliver a crowd-pleasing, blockbuster spectacle.
The new neo-noir series Full Circle, directed by Steven Soderbergh, has big ideas to share about class, race, nationality, and crime. But so far it’s a slog to watch.
FX’s second season of The Bear gives both dignity and drama to the realities of work.
Actor, director, musician, and certified New York “red diaper baby” Alan Arkin (1934–2023) was the rare Hollywood talent whose onscreen genius grew out of his own innate warmth and kindness.
I’m a Virgo is a superhero satire about a 13-foot-tall black teenager making his way in Oakland. It’s far more wild and surprising than almost anything we normally see on TV.
Asteroid City dials up the “Wes Anderson” to 11, leaving an emotional void in its wake.