Latest News and Reviews

Review: ‘Carry-On’: An Action Vehicle That Never Takes Off

In its mission in trying to become the face of entertainment, streaming juggernaut Netflix has put a substantial foot in the distribution game. Starting in 2013, Netflix has distributed hundreds upon hundreds of films to bolster its catalog. But the company’s “Netflix Original” label acts as no seal of quality. For every critically-acclaimed darling nested deep within Netflix’s pantheon, there are hundreds of mindless and purposeless flicks. For every beloved film like The Irishman, there are hundreds of films like Carry-On.

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Review: ‘Spellbound’: A Cute Fairy Tale — Or Is It?

Netflix’s newest animated feature, Spellbound, directed by Vicky Jenson, has just been released, presenting itself as quite an interesting twist on the classic fairy tale. Riddled with musical numbers and vibrant colors, the film ultimately leaves the audience questioning its true intentions as it comes to a close.

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Review: ‘Juror #2’: A Compelling Courtroom Drama with a Twist

Legendary director and American icon Clint Eastwood’s latest film, Juror #2, is perhaps one of his most interesting works to date. Being primarily known for Westerns, Eastwood tries his hand at a courtroom drama, and the result is a simple yet captivating thriller with a very intriguing moral dilemma. 

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Review: ‘Dahomey’: A Mediocre Exploration of Colonial Restitutions

A documentary derives its essential effect through its filmic depiction of that purest effecter of emotion, the naked truth; hence, the more this truth is colored by unsatisfactory directorial interpretation and artifice, the more its potency is lost to banality. Mati Diop’s Dahomey is weakened by its imperfect balance between an impartial portrayal of events and an artistic yet artificially distorting expression of Diop’s view on the subject.

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UW Film Club Podcast #101: Days Of Heaven

“Your podcast keep you warm at night, does she?”

In this episode, join us for a discussion on Terrence Malick’s visual masterpiece about love and loss at the turn of the century. We talk about the movie’s oddly divisive narration, the importance of substance in a movie so loved for its style, and so… much… wheat…

UW Film Club · Episode #101 – Days of Heaven (1978) – UW Film Club Podcast

On this episode: Sofia Geherin, Willow Goetting

You can find us on Facebook at /UWFilmClub, and on Twitter and Instagram @FilmClubUW. Make sure to rate, comment, and subscribe to our podcast on Apple Podcasts, Soundcloud, Spotify, and Google Play, and tune in every week for a new episode of the UW Film Club Podcast!

Review: ‘Woman of the Hour’ Falls Short of Prime Time

Anna Kendrick’s directorial debut, Woman of the Hour, is out now on Netflix, but is it worth the watch? The true crime/thriller follows aspiring actress Sheryl Bradshaw (Kendrick) as a contestant on The Dating Show, a popular show that first aired in 1965. Set in Los Angeles in 1978 (with frequent time-jumps/backs), Bradshaw is unaware that contestant number three is the then uncaught serial killer, Rodney Alcala (played wonderfully by Daniel Zovatto). The sadistic killer was suspicious to any woman he met yet invincible to capture from law enforcement. Between the past, present, and future, one fact rings true throughout the film: he should not have gotten away with all of this. As promising as Kendrick’s debut seems, the pacing and questionable writing make the film seem like a pastiche of a true crime documentary.  

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Review: ‘Your Monster’ Claws its Way into the Heart

Horror darling Melissa Barrera returns in this delightfully twisted romantic horror-comedy that proves monsters can be the best roommates. First-time director Caroline Lindy adapts her own short film into a feature-length exploration of grief, growth, and the unexpected comfort of closet-dwelling creatures. Laura Franco (Barrera) stumbles back to her childhood home, fresh from battling cancer and nursing a brutally broken heart, only to find her childhood Monster (Tommy Dewey) still lurking in her old closet—and he’s not exactly rolling out the welcome mat. Barrera’s portrayal of Laura as an emotional hurricane in human form perfectly matches the film’s darkly whimsical tone, creating something that feels like a spiritual successor to this year’s Lisa Frankenstein. The production design embraces its theatrical roots with gusto, from the pitch-perfect “theater kid” aesthetic to the impressive practical effects that bring the furry protagonist to life. Your Monster emerges as this season’s surprise gem, offering a perfect blend of scares and heart that shows sometimes the scariest thing isn’t the monster in your closet—it’s letting yourself be vulnerable again. 

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Review: ‘Anora’: An Intricate Portrayal of Sex Work

Writer-director Sean Baker is known for taking on films involving sex work, whether it’s a subtle but powerful supporting background element (The Florida Project) or directly linked to the main character (Red Rocket). Now, he brings audiences an entertaining and empathetic perspective from this community with Anora. Winner of the 2024 Palme d’Or, Anora subverts negative stereotypes of sex work to portray a complex woman amid a complex relationship.

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