Film is — and always will be — political
Coleman SpildeIn “Industry,” queerness is capital
Coleman SpildeThe women of “Pretty in Pink” deserved better
Coleman SpildeThe “Wuthering Heights” double standard
Coleman SpildeJames Van Der Beek kept us guessing
Coleman SpildeEmerald Fennell’s “Wuthering Heights” is a reader’s dream
Coleman Spilde“The Moment” is Charli xcx’s disturbing sellout fantasy
Coleman Spilde“The Rip” is a new low for Netflix’s mindless filmmaking
Coleman SpildeElle Fanning’s Oscar nomination still undersells her year
Coleman SpildeHow the viewers changed the Oscar race
Coleman Spilde“A Private Life” is Jodie Foster’s moving French masterpiece
Coleman SpildeThe vital joy of Amy Poehler’s “Good Hang”
Coleman SpildeThe Golden Globes don’t care about film
Coleman SpildeTeeny tiny mics are ruining the red carpet
Coleman SpildeRobyn reframes motherhood and desire
Coleman SpildeWill 2026 bring back the blockbuster?
Coleman SpildeDo women love “Heated Rivalry” too much?
Coleman SpildeMovie stars want to direct. It’s not always a great idea
Coleman Spilde
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