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- Indexed articles, last 90 days
- 4
- Latest publication
- Oct 1, 2026
- Outlet visibility, for Boston Herald
- Top 100K sites
- Earliest in this view
- Aug 13, 2026
Latest articles
Satire takes a ‘Digger’ in climate-disaster farce (opens the original)
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Just as the fate of the world hangs in the balance in “Digger,” Alejandro G. Iñárritu’s over-the-top, climate-disaster satire teeters on the brink. It’s an audacious plate-spinning act, juggling exaggerated farce, sober anxieties and an oil-mad Tom Cruise. Iñárritu, an art-house showman, has always delighted in a grandiosity of vision: the long-take backstage circus of “Birdman,” the rugged vistas of “The Revenant,” the metaphysical musings of “Bardo.” You come to an Iñárritu movie for swagger,
‘Hope’ a creature feature to the max (opens the original)
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Na Hong-jin makes chase movies and it can be incredible where they go. His latest, “Hope,” is his biggest and wildest movie yet. But despite its heft in scale and run time, it rarely pauses to take a breath. Though some of Na’s contemporaries are better known in the West, the South Korean writer-director has for two decades been a must-see filmmaker for breathless spectacles laced with pointed satire and scruffy humanity. His appropriately titled 2008 debut, “The Chaser,” focused on a pimp and f
Slasher-siege movie ‘Onslaught’ meanders toward mayhem (opens the original)
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Masked soldiers deployed on domestic soil and an air of conspiratorial paranoia give Adam Wingard’s not-quite-grindhouse siege film “Onslaught” a contemporary pulse, even if this lean, B-movie thriller doesn’t deliver much more than a flicker of its throwback promise. Wingard, though, does seem freshly liberated in this return to his low-budget thriller roots (“You’re Next,” “The Guest”). He has since spent the last decade in more IP-managed releases: the 2016 “Blair Witch” sequel, a Netflix ada
‘The End of Oak Street’ a gonzo good time (opens the original)
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At the end of the block in David Robert Mitchell’s “The End of Oak Street,” is a cul-de-sac with a telephone pole in the middle and wires radiating out like the cables of a big top. It’s a fitting touch for a breakneck, carnivalesque movie made with throwback showmanship. Summer movies, of course, are not known for lacking in circus-like mayhem. But much of the pastiche delight of the 1980s-set “The End of Oak Street,” a mid-August surprise, is how it absorbs an Amblin-style blockbuster spirit a
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