There Are No Saints is for exploitation heads only, a warmed-over rehash that excises much of Schrader’s heady themes in favor of bland bloodshed. In…
In ultimately providing too many answers to its excessive plotting, A Chiara extinguishes some of its more troubling and intriguing possibilities. A gangster film from the…
The Worst Ones, the debut film from Lise Akoka and Romane Gueret, opens on interviews with the young French people Flemish film director Gabriel (Johan…
Chip ‘n Dale: Rescue Rangers needs rescued from the Mouse House, which has here flattened the meta-reboot into a flavorless work of IP regurgitation. Somewhere…
Summer of Changsa is an exercise in useless misery that feels lifeless from start to finish. Having premiered three years ago, all the way back at…
The Takedown is inoffensive as a buddy cop comedy, but runs into trouble with its reductive neoliberal political invocations. Louis Leterrier’s The Takedown, a sequel…
Bubble is an altogether gentler anime product for Araki, aiming for the emotional stakes of films like Your Name, but is slight to the point of…
Sexual Drive draws the straightest possible line between food and sex, never striving for anything deeper or more creative than basic simile. For nearly as long…
The Cellar is far too bogged down in the why of its haunted house conceit, deferring thrills in its dull march to an inevitable conclusion. Brendan Muldowney’s The…
Nitram is the worst sort of armchair investigation — one that reopens wounds it doesn’t bother to heal. The True History of the Kelly Gang was…
Mo McRae’s directorial debut A Lot of Nothing is — stop me if you’ve heard this one before — a satirical thriller about race relations…
Texas Chainsaw Massacre is yet another forgettable series entry, distinguished only by its lame attempts at social relevancy. When David Gordon Green revived Laurie Strode…
All the Moons is a gorgeous, sorrowful, and achingly sensitive fairy tale. Though it at first looks like a typical, if particularly handsome, period vampire film,…
Here Before suggests early promise, but ultimately settles into rote psycho-thriller styling and manipulative table-setting. Stacey Gregg’s Here Before has all the markers of a good…
The Other Me amounts to little more than an empty spectacle banking on David Lynch’s name. Let’s get it out of the way: the most interesting…
Katz’s film is an understated, elliptical work that speaks volumes in its pointed quietude. Ana Katz’s The Dog Who Wouldn’t Be Quiet appears at first…
Belle as a leaden mess of abject sentimentality and perfunctory technological tedium. If there’s anything to be gleaned from Belle, it’s this: Mamoru Hosoda has…
#17. On its surface an ode to disappearing print journalism and the power of a good editor, The French Dispatch finds Wes Anderson using non-cinematic…
Welcome to Raccoon City is a deeply faithful Resident Evil adaptation, and a deeply bad one at that. If there’s a guiding principle to Resident Evil: Welcome to…
Antlers is a competently made but shallow horror effort, slathered in trauma-heavy metaphor and a questionable abuse narrative. Writing about new horror movies can sometimes feel…
Broadcast Signal Intrusion is built on used parts, but Gentry executes his vision with queasy dread and necessary ambiguity. Working late nights transferring tapes of old…