Hansan features plenty rousing naval action, but also drags in its first half and too baldly leans on a propagandist view of history to establish…
Resurrection is a haunting work of psychological brutality, far superior to the metaphor-heavy trauma horror it’s being incorrectly lumped in with. Rebecca Hall has steadily…
Though frequently overt in its commentary, Medusa still enthralls thanks to its formally and functionally immersive world-building. Set in an alternate Brazil where evangelical conservatism has…
Hypochondriac is but the latest elevated horror project to arrive, spinning its wheels for 90 minutes without anything new to say. Fans of elevated…
The Killer is a shallow retread of already shallow ground and sunk by the blank slate of a “hero” at its core. As he did…
Gone in the Night is a slog undone by its own structural conceit, confining its compelling material to flashbacks and riding a wave of dull…
American Carnage is harmlessly fun and occasionally intriguing in its provocations, but it’s all predicated too closely on overly familiar touchstones. What’s the ideal…
She Will offers plenty of appealing phantasmagoria, but skews too indulgent with its visual design and often upsets its rhythms with a need to preach.…
Glasshouse is a heady, challenging treatise on the nature of memory, its rippling interpersonal effects, and ultimately a horrifying study in survival of the…
The Black Phone establishes a new high water mark for masked killer horror, singular and effective in its eerie details even if a bit familiar…
Flux Gourmet has a few tasty morsels, but it mostly offers glimpses at the more adventurous filmmaker that Strickland used to be. The films of…
The Other One is an overcomplicated affair, but also a hyper-stylized and thrillingly violent one, and further proof that American blockbuster cinema is lagging. Released…
White Elephant might satiate devoted JVJ fans but will feel warmed-over for other DTV action heads. Even the best filmmakers have a few stumbles in…
After Blue is a delirious visual experience, but Mandico stretches his few ideas far too thinly, resulting in a beautiful but repetitive trudge. Bertrand…
Neptune Frost lacks for coherence, but remains an oddity worth seeking out on the strength of its formal expressions and bold exploration of ideas.…
With DASHCAM, Savage threads a tricky needle of Screenlife, first-person POV, and found footage cinema, but if you can vibe with the assemblage, there…
Watcher stumbles into the territory of predictability that has sunk many a better horror-thriller before it. Horror inspired by the unique voyeurism of apartment-living…
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.…