A jumbled mess of clichés and empty symbols in search of deeper meaning, Mona Lisa and the Blood Moon does little more than usher viewers down a…
Pearl doesn’t indulge the same genre thrills as X, but it does deliver an idiosyncratic, bloody little chamber piece that succeeds in a different but undeniable way.…
See How They Run is an amiable, nerdy romp that draws upon theater history, Agatha Christie, and even Wes Anderson to create a jaunty exercise in…
God’s Country is an arrogant and painfully writerly project that is only occasionally uplifted on the strength of its visual flourish. A classic sort of…
Speak No Evil is a grueling experience in the best possible sense, punctuating by a giddily mean-spirited and pitch-perfect ending. Like an unholy amalgamation of Michael…
House of Darkness absolutely butchers its attempt at a female empowerment tale, landing somewhere between overtly offensive and appallingly stupid. It’s feast or famine when it…
Saloum is an absolute blast, packed with pleasant genre surprises and announcing a major new filmmaker in Jean Luc Herbulot. Part of the joy of…
The Invitation perhaps could have actually been surprising if marketing hadn’t spoiled its game, but there’s unfortunately not much else for viewers to have fun…
Out of the Blue feels like a bizarre cross between Murder, She Wrote and Cassandra’s Dream, punched up with a healthy dose of LaBute’s patented woman-hating toxicity. It’s…
Squeal is an occasionally striking study of the fairy tales men tell themselves, but it too often feels floundering and under-cooked to be regarded as…
When I Consume You starts strong and boasts a strong visual character, but it frustratingly trades too heavily in tired horror tropes to land with much…
The Legend of Molly Johnson can skew a bit too on-the-nose at times, but it remains a bold, uncompromising work and the best kind of revisionist…
Fall is an utterly dull would-be thriller that squanders the visual possibility of its premise and trades only in inane melodrama. 2018’s Academy Award-winning documentary Free…
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…