Barbarians is blunt-force cinema at its worst, beating viewers over the head with its shallow, pseudo-provocative gabble. Barbarians is a home-invasion thriller that desperately wants…
Everything Everywhere All at Once, true to its title, can be a little chaotic and unruly, but it’s still a hilarious and impeccably crafted bit…
Bull offers genre fans 80 minutes of satisfyingly amoral brutality, but its swing-for-the-fences finale misses the mark. There’s no shortage of revenge pictures out there;…
The Contractor isn’t much for ambition, but it accomplishes precisely what it sets out to, and lets Chris Pine have a little fun in the…
Superior sources a number of eerie genre influences in the creation of a bold, singular debut. Functioning as both an expansion and direct continuation of…
You Are Not My Mother is appealingly steeped in the folk-horror tradition, but has a suffocating visual aesthetic and the unfortunately distinct feel of a…
X is a gnarly throwback horror that sheds the genre’s present obsession with being about something and just slings blood and jokes for the duration of its…
Panama is a muddled and befuddling film, offering a few choice Neveldine aesthetic choices but otherwise exhibiting a confused embrace of cliché. Intended as a…
Alice is but another well-intentioned but utterly ham-fisted confrontation of America’s original sin. While history books are quick to tell us that Lincoln’s Emancipation Proclamation…
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…
All My Friends Hate Me’s off-kilter framework is both a blessing and curse, but there’s an abrasive charm for those willing to play its…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists…
Asking for It is a cheap and muddled affront to the women it seeks to foreground. Asking for It, the debut feature from writer-director Eamon…
Mother Schmuckers is sub-John Waters more-busting that fails to understand the essential appeal of its inspirational touchstone. American audiences encountering the Belgian gross-out comedy Mother…
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…
Studio 666 is an obvious labor of love for Grohl and co., but one that delivers neither the necessary horror or comedy of its fan-service…
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…