A Banquet is atmospherically impressive for its first two acts, but doesn’t quite know how to stick the landing. The decision to eat or…
The Cursed is blessed with beautiful images but is otherwise plagued by an overly familiar werewolf narrative. Why’s it so hard to make a…
King Knight sets its sight on targets as broad as a barn, but somehow still misses. Writer-director Richard Bates Jr. made a bit of a…
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…
Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the…
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…
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…
There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve…
The Last Thing Mary Saw is sedate bit of moody horror that takes an array of cinematic reference points and flattens them until there’s…
Shattered is a sleazy erotic thriller knockoff, one that never realizes its camp potential but which boasts a few poor-taste pleasures along the way. Hidden…
Although it doesn’t quite stick the landing, See For Me is still a precise, no-frills genre exercise that makes the most of its limited budget…
There’s plenty to admire in The Novice, but a surfeit of ambition and an overreliance on certain aggressive formal qualities bogs down its execution.…
The Scary of Sixty-First is an incredibly engaging piece of camp in the narrative form of classic paranoia-thrillers. Recently, while on my way to lunch…
The Last Son is ill-conceived and one-dimensional, yet another bid at mining a the Western mythos that trades only in outmoded tropes and iconography. Playing…
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.…
Silent Night is more holiday punishment than gift. Featuring a floor-to-ceiling stacked cast and a festive setting and title, one might assume that Silent Night,…
There’s a potentially great movie buried in Encounter, one that Pearce scuttles in service of a high concept that goes mostly nowhere. Riz Ahmed…