Film

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In the United States there has long been a strange fascination with stories of the American backwoods — gritty tales of brazen crime, graphic murder, religious fanaticism and twisted mentalities.

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The backlash is bipartisan: both Sen. Ted Cruz and Rep. Tulsi Gabbard have called “Cuties” child porn.

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Like all great horror movies, “Antebellum” is barely fiction. 

In modern classics like “Get Out,” “The Babadook” and “Antebellum,” the fantasy comes not when the monsters show their ugly faces, but when they are vanquished.

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I’ve watched a lot of movies in my lifetime. A lot. And yet my film knowledge is severely lacking in one particular area.

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Disney has long been the big name in animation.

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In need of a laugh and looking for a Tarantino knockoff with a B-list cast? Look no further than “The Babysitter: Killer Queen,” released last Thursday on Netflix.

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Last spring, the Daily Film beat was inspired by the doldrums of quarantine and the introduction of Disney+ to watch and review a number of Disney Channel Original Movies — DCOMs for short.

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I’ve always wanted to go on a road trip. Particularly one filled with adventure and uncertainty, a road trip not unlike Percy Jackson’s quest in “The Lightning Thief,”  albeit without the mythical monsters and the impending wrath of the Greek gods.

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One of the best parts of Spotify on desktop is the feature that shows what one’s friends are listening to. It’s riveting to lurk from account to account, and guess why people are playing artists as varied as Waka Flaka Flame, Nine Inch Nails and Justin Bieber.

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This review has taken longer to write than I, or my editors, expected.