Aubrey Plaza remains one of our most intriguing stars, but Emily the Criminal imprisons its leading lady within anonymous old-school thriller retread. Anyone not already convinced…
Like The Outlaws before it, The Roundup is a pretty basic cop movie, but director Ma Dong-seok spins it all into irresistible entertainment. In 2017, Ma Dong-seok, fresh off…
This latest iteration of The Most Dangerous Game is nothing more than a shallow vehicle for bloodshed, and dull to boot. 1932’s The Most Dangerous Game,…
There are pockets of interest to be found in Paradise Highway, but its mediocre mashup of genre and weak character work ensure that it never rises…
Vengeance suggests plenty of potential in its genre-mixing premise, but frustratingly shakes out exactly as you’d expect at every turn. It feels like the idea…
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 its…
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 amassed…
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 all…
Hypochondriac is but the latest elevated horror project to arrive, spinning its wheels for 90 minutes without anything new to say. Fans of elevated horror,…
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 in…
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 inertia…
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 framework…
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. For…
Glasshouse is a heady, challenging treatise on the nature of memory, its rippling interpersonal effects, and ultimately a horrifying study in survival of the fittest.…
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 in…
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 Peter…
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 in…
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 them.…
After Blue is a delirious visual experience, but Mandico stretches his few ideas far too thinly, resulting in a beautiful but repetitive trudge. Bertrand Mandico’s…
Neptune Frost lacks for coherence, but remains an oddity worth seeking out on the strength of its formal expressions and bold exploration of ideas. Saul…