HeyJaredDavid Sims
- Indexed articles, last 90 days
- 10
- Latest publication
- Sep 11, 2026
- Outlet visibility, for The Atlantic
- Top 10K sites
- Earliest in this view
- Jul 15, 2026
Latest articles
How to Kill a Franchise Before It Even Starts (opens the original)
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The marketing for Hope, the new film by the South Korean horror master Na Hong-jin, presents it on an epic, otherworldly scale. It’s the most expensive Korean movie ever made, and the director’s first in more than 10 years, since his widely acclaimed hit, The Wailing; its sweeping rollout across the United States, which includes special showings on premium-format screens, is also one rarely afforded to international productions. That approach befits Hope’s run time (a hefty 156 minutes); its blo
Hollywood’s Franchise Obsession Has Come for Indie Movies (opens the original)
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Onslaught, in theaters this week, should be the perfect early-September treat. The aggressive action thriller is gory, loud, and packed with interesting actors, and it has a straightforward premise: Three murderous super-soldiers, the result of some shadowy extra-governmental experiment, have escaped from a lab and are descending upon a small town in New Mexico. A tough-as-nails retired Army sniper named Celeste (played by Adria Arjona), living somewhat off the grid in a trailer park, must use h
Why Was This ‘Looney Tunes’ Movie Almost Shelved for Good? (opens the original)
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Perhaps the starkest sign that Coyote vs. Acme isn’t your typical children’s movie is that it’s based on a New Yorker article. Yes, it features many Looney Tunes characters that multiple generations know and love, interacting alongside real-life actors in a style similar to prior big-screen efforts, such as Space Jam or Looney Tunes: Back in Action. But the director Dave Green’s film—which opens August 28, after a protracted saga that almost saw it kept from audiences forever—draws from a slyly
The Road to Nowhere (opens the original)
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If there’s one thing young moviegoers seem to fear these days, it’s the idea of the in-between. The term liminal horror has gone from niche internet speak to Hollywood trend, thanks to the acclaimed TV show Severance and the recent smash-hit movie Backrooms. Stories like these mine the unsettling feeling of nondescript office corridors and basement halls that seem to self-replicate into infinity; this spring also saw the U.S. release of the excellent Japanese film Exit 8, a video-game adaptation
Spidey’s Sense for Success (opens the original)
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This has been a terrific year for movie theaters. Cinemas are on course for their best financial year since before the coronavirus pandemic, powered by large-scale hits such as The Odyssey and surprise small-budget smashes, particularly Obsession and Backrooms. Fears about the decline of the big-screen experience amid the rise of at-home streaming seem to have begun dissipating. But one theatrical stalwart is showing serious signs of weakness: the superhero movie, which helped keep blockbusters
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Top 10K sites
For The Atlantic, the outlet · Measured Aug 1, 2026
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