The Right to Sex addresses an array of social and ethical issues, but what do they reveal about the metaphilosophical stance her writing embodies?

The film—flirting with ideas ranging from power to subjugation, capitalism to expansionism, greatness to desire—is far from a straightforward sports picture.

David Freyne’s Eternity starts with a premise that sounds like a thought experiment invented to criticize Nietzsche’s eternal recurrence.

In its refusal to resolve, After the Hunt feels less like a typical thriller and more like life: incomplete, irreducible, and frighteningly alive.

The audience can’t help but stare and laugh and squirm as Craig grapples with the loneliness threatening to tear his life apart.

Imagine The Social Network’s twin-tech trickery meets Inglourious Basterds with a pinch of Get Out, and you’re somewhere in the ballpark of Sinners.

Warfare has barely any characters to speak of, no arcs, and no anchors. They are silhouettes, pulses, steady gazes, and trembling fingers on triggers.

A Minecraft Movie was perhaps inevitable. The world’s bestselling game, defined by its limitless possibilities, was bound to attract Hollywood’s attention.

In the world of finance, a unicorn is something to be caught, dissected, and monetized. In Death of a Unicorn, Alex Scharfman takes this premise to a grotesquely literal conclusion.

To call Opus a critique of celebrity culture is to reduce it. It does not merely criticize. It embodies, extends, and ultimately deranges the phenomenon.