Deep Water is an erotic thriller that’s neither particularly erotic nor thrilling. Those hoping for a horny throwback to the now-considered-classic erotic thrillers of…
Bloody Oranges is late-’90s Tarantino knockoff adorned with finger-wagging political window dressing. Partway through alleged French comedy Bloody Oranges is an epigraph from Marxist philosopher Antonio Gramsci…
The Batman is an entirely overlong and overextended affair, but otherwise delivers gorgeous imagery, thoughtful mythos, and playfully brooding emo inflection. The Dark Knight is…
The Desperate Hour is such a shrug of a film that it isn’t even worth considering the potentially offensive exploitation of its conceit. With…
Hellbender is the best kind of DIY effort, technically accomplished and on the verge of transcendent horror. 2019 introduced genre audiences to The Deeper…
Blacklight is a low point in Neeson’s tough-guy thriller canon. At some point in the latest Liam Neeson product Blacklight, our hero, a stoic FBI…
Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from…
Actor Jesse Eisenberg seems to be playing right into his on-screen persona as an insufferable narcissist with his feature directing debut When You Finish…
2022’s Scream is a sincere betrayal of the franchise’s legacy and devoid of Craven’s masterful craft and play. A rejoinder to a dead subgenre, Wes Craven’s…
Woodlands Dark is exceedingly thoughtful and never less than riveting despite its length, a film destined to become an important work of criticism. In…
#10. You could be forgiven for suspecting that a movie starring Nicolas Cage as a reclusive, world-renowned chef searching for his kidnaped, beloved truffle-hunting…
It’s impossible to replicate the essential newness of the original Matrix, but Resurrections is another deeply idiosyncratic huge swing that’s destined to be underappreciated for the near…
No Way Home offers some genuinely playful noodling with Spider-Man’s cinematic legacy, even as it often stumbles in execution and suggests a muddled future for the…
Mickey Reece makes idiosyncratic, uncategorizable films, chamber horror Agnes is his best film to date. Prolific Oklahoma underground filmmaker Mickey Reece is out there blowing up…
Castle Falls isn’t the DTV flick of the year that it’s inspired pairing teases, but its a solid little actioner that doesn’t overstay its welcome.…
House of Gucci is relentlessly entertaining spectacle, utterly soapy and only occasionally undermined by some bland prestige film sheen. Ridley Scott goes two-for-two this year,…
Afterlife is more rehash than reinvention of the Ghostbusters brand, cloying and desperate in its mode of pure nostalgia. Ghostbusters: Afterlife is an almost purely nostalgic experience, but…
The Feast is a fine feature debut for Jones, building an effectively eerie tone and supporting it with lovely compositions and gnarly inserts. Lee Haven…