Sam Mendes’ long-take heavy 1917 is a thrill ride through the battlefields of World War I.
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THE RISE OF SKYWALKER, the latest STAR WARS film, suffers from incomprehensible plotting, a devout focus on inconsequential minutae and crippling nostalgia
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Daring and unafraid of pulling its punches, QUEEN & SLIM is a provocative, unsanitized work of art featuring star turns by Daniel Kaluuya and Jodie Turner-Smith
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Rian Johnson’s KNIVES OUT combines playful performances and witty writing to provide a wealthy abundance of laughs, fun, twists, and intrigue.
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FROZEN II is narratively ambitious and visually inventive, living up to its predecessor without being a mere retread, letting the past be in the past.
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LAST CHRISTMAS is a perfectly gentle, charming and breezy Christmas-themed rom-com, even despite its bad twist and off-tone digressions into darker themes.
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One of the year’s best films, MARRIAGE STORY features some of Noah Baumbach’s finest work as a writer/director and incredible leading performances from Adam Driver and Scarlett Johansson.
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Kasi Lemmons attempts to add weight and depth to the biopic formula with HARRIET to mixed results.
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With bad pop culture references and terminally inane musical interludes, THE ADDAMS FAMILY suffers from everything that is wrong with 21st century children’s entertainment
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WHERE’S MY ROY COHN, the documentary about the notorious attorney, is heavy on facts but light on insight into one of the 20th Century’s most destructive figures.
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Renée Zellweger’s performance does its best to elevate JUDY, but the film still cannot escape the clichés and banality of the musician biopic genre.
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Jillian Bell’s stellar, hilarious performance carries BRITTANY RUNS A MARATHON even when the film around her can’t always keep up
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The striking performances and rich chemistry of Shia LaBeouf and newcomer Zack Gottsagen bring THE PEANUT BUTTER FALCON to life as one of the year’s best films.
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ANGEL HAS FALLEN attempts to be more respectable than its predecessors and humanize its hero, but in doing so sapped the franchise of what little uniqueness and personality it had.
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GOOD BOYS, despite the dire advertising, is a solid coming-of-age comedy that overcomes a predictable setup with well crafted jokes and plenty of heart.
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André Øvredal’s adaptation of the children’s horror classic SCARY STORIES TO TELL IN THE DARK is full of gruesome effects and terrifying monsters, but struggles to come together as a compelling narrative.
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BRIAN BANKS is a garishly loud, unsubtle film that fails to inspire despite the incredibly powerful true story it’s based on.
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The Lewton Bus crew breaks down our favorite films of the year so far, including superhero epics, city-smashing monsters, and hour-long 3-D tracking shots.
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Emma Thompson steals the show in the Mindy Kaling penned LATE NIGHT, a clever film with enough surface pleasures and depth that will satisfy any audience
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A tale of a doomsday prepper falling for a hoarder, THE TOMORROW MAN struggles to find its footing despite strong direction from debutant Noble Jones
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Guy Ritchie’s live action remake of ALADDIN is enjoyable from start to finish, buoyed by confident direction, stellar performances, and classic musical numbers brought to life.
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Ritesh Batra’s PHOTOGRAPH eschews traditional cinematic depictions of love and romance and avoids overwrought grand gestures to instead focus on the small moments that make up true loving relationships.
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JOHN WICK: CHAPTER 3 finds a satisfying middle ground between the straightforward action of the first film and the universe-expanding mythos of the second… head-shotting hundreds of dudes in the process.
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The Lewton Bus crew have brought our minds together and compiled the capital B Best things about the Marvel Cinematic Universe. You may disagree with some of our choices, but you would be wrong.
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In what is easily the nerdiest article to ever grace Lewton Bus, Kevin dives into his love for YouTuber STAR WARS READING CLUB
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Hotel Mumbai is gut-wrenchingly suspenseful, but the lack of subtext or artistic statement makes the gripping filmmaking feel hollow and even somewhat exploitative
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THE MUSTANG is a formulaic story of recovery in the modern American west that is heightened by its beautiful visuals and warm but powerful performances
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It’s a wonderful night for Oscar! Oscar! Oscar! It’s also a wonderful night for Lewton Bus’s “official” Oscar night preview by our own cynical awards expert Kevin Kuhlman.
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To celebrate the 30th anniversary of BILL & TED’S EXCELLENT ADVENTURE, our resident Phoenix native Kevin takes us on a tour of the many of the film’s shooting locations from his hometown.
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Kevin celebrates his top ten favorite films of 2018, a remarkable year for cinema of all kinds
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Given how great a year 2018 has been for cinema, our own Kevin Kuhlman struggled to pare down his list of favorite films to merely just 10. So here is the first part of his 18 favorite films of 2018!
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Kevin breaks down his favorite action scenes of 2018, from the small gory thrillers from Indonesia to the biggest blockbuster of the year.
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Lewton Bus’s Kevin Kuhlman reveals some big news and breaks down his favorite scenes of 2018
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James Wan’s AQUAMAN is an inventively fun action film that brings the oft-mocked superhero to life by leaning into the inherent silliness of the character and his comic-book history.
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Joel Edgerton’s BOY ERASED is an “important issues” film that plays to the cheap seats and fails to find anything new to say.
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Asghar Farhadi’s follow up to THE SALESMAN, EVERYBODY KNOWS, is a fairly straightforward thriller brought to life by masterful acting and direction.
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Alfonso Cuarón’s ROMA is one of the year’s best films, masterfully weaving an intimate period piece family drama with the scope and flair of a historical epic
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Allen and Kevin are joined by Sthefany “Z” Flores to discuss the 2009 horror-comedy ZOMBIELAND on this month’s episode of MY FAVORITE MOVIE
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A black comedy of the of the absurd, TO DUST is a riotously funny buddy tale of a Hasidic Jew and a community college professor coming together to study bodily decomposition after a loved one’s passing.
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A captivating lead performance by Marcello Fonte is enough to elevate the thin allegory and staid crime drama of Matteo Garrone’s DOGMAN
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Tonal balance might be the most important part of a film. Typically, comedies should feel like comedies, dramas like dramas, action like action, etc. The tones of a film can change, but it’s up to the writers, directors, actors, and others to make sure that those shifts aren’t jarring for the audience and that they
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Season 2 of AMERICAN VANDAL is a plea for empathy for teenage high school students to be embraced for who they are… featuring lots and lots and lots of poop.
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How Arnold Schwarzenegger and John McTiernan built the perfect 80s action movie… only to tear it all down.
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Kevin rolls over for PICK OF THE LITTER. A warm and fuzzy documentary about the world of seeing-eye dogs, from rolly-polly puppy to full grown canine guide.
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September sucks for theatrical releases, so here are a few 2018 streaming films to get you through this month-long desert of moviegoing.
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The MFM crew sits down with Will Hyland to discuss Sicario.
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Operation Blacklist, the United States military occupation of the Japanese islands in the aftermath of V-J Day, lasted for seven years during the peak of Hollywood’s obsession with the Western. From 1945-1952, Americans saw hundreds of Western films find mass audiences and the careers of directors like John Ford explode to the point where Western
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A24’s NEVER GOIN’ BACK is a hilarious film that exquisitely captures the feeling of being young and dumb.
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VENOM’s third trailer actually says the phrase “Turd in the Wind” and someone actually approved of this.
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Jon Schnepp, director of THE DEATH OF SUPERMAN LIVES and METALOCALYPSE, passed away at 51.
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