There Will Be Blood is an American epic, capturing America’s post-industrial psychology, but in 2025, we’re not only embracing it but challenging ourselves to do worse.

If you’re caught up in Materialists’ debate about Lucy’s salary and lifestyle, you’re falling for the film’s trap.

Mad About the Boy has no business being as good as it is; it turns out, when films are rooted in character and not nostalgia, the results are pretty good.

The eponymous sins don’t refer to an evil or material vices, but the centuries-old suffering that created the need to commit them.

Filmmakers watering down their film’s messages demonstrates a lack of trust in the audience. But what is our role as an audience in the break in that trust?

Why as documentary film viewers are we so incapable of empathy? We have plenty to extend towards participants and crew, but we seem so unwilling to exercise it as film critics and viewers.