Please Baby Please is a gauche and grimy good time, and might wind up as 2022’s best bit of playful kink. It’s the rare film that…
Despite its slightness, Slash/Back still proves a diverting, charming girl power romp. Nyla Innuksuk’s Slash/Back opens to the singular vocal stylings of Inuk throat singer Tanya…
Accident Man: Hitman’s Holiday delivers the violence, direct-to-video. Remember Accident Man? It’s OK if you don’t, but DTV actionheads tend to think of it fondly…
McKee’s latest might be enough for his diehard fans, but its stretched runtime makes any interesting happenings too little, too late. Lucky McKee’s best films…
Summit Fever could have climbed to better heights, but it’s base-level take leaves it just a cheesy, overlong mess. With rock-climbing films steadily entering the…
Project Wolf Hunting is a symphony of wanton destruction, a splatter-heavy genre mash-up that’s so cartoonishly garish as to become absurdly funny. A symphony of wanton…
Piggy is a startlingly visceral and bloody affair happy to indict and wreak revenge upon a toxic modern society. The pros and cons of virtual festivals…
Terrifier 2 is a breath of fresh horror air, hilarity, melodrama, brutality, and unhinged schtick rolled into one grisly package, all of it supported by a…
Smile is an obnoxious attempt at subverting trauma horror, sunk not only by its own smug conceit but also its failure to capitalize on its unique…
Masking Threshold is one of the best films ever conceived about what it means to be terminally online, though its final act turn toward more traditional…
Jeepers Creepers: Reborn is an inane and butt-ugly franchise continuation that delivers exactly nothing to the hordes of nobody who asked for it. Jeepers Creepers: Reborn…
Dead for a Dollar is another failed Western outing from Walter Hill, a well-intentioned but visually shoddy film that sags whenever its action disappears. After his…
Vesper is undeniably indebted to a long lineage of sci-fi antecedents, but its peculiar character and keen visual style keeps this a cut above your typical…
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…