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…
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 are…
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 and…
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. In…
Carried by Skeggs and Gellner’s relentlessly flickering energy, Dinner in America is a modest but unexpectedly sweet experience. Adam Rehmeier’s sophomore film Dinner in America updates…
Good Mourning isn’t the cult stoner comedy it angles to be, but there’s a welcome amiability that permeates the entire film, elevating this MGK vanity…
Like previous Garland films, Men is a stylish but thematically bankrupt enterprise that staves off boredom while offering no real thrills or substance. You could be…
Firestarter can’t recover from its weak script and insipid direction, meandering its way through a tension-free film populated by shallow, uninteresting characters. Fresh off his…
The Innocents thankfully forgoes any social commentary in favor of impressive horror atmosphere and a study of childhood’s central paradox. When the director of an…