Broadcast Signal Intrusion is built on used parts, but Gentry executes his vision with queasy dread and necessary ambiguity. Working late nights transferring tapes of…
The Blazing World is a disarmingly charmless and amateurish series of indie genre check-boxes that amounts to a whole lot of nothing. With horror films…
Old Henry is about as dusty and unoriginal as westerns come. Writer-director Potsy Ponciroli’s Old Henry dares to go where nearly every Western in the…
Coming Home in the Dark isn’t breaking new ground and its ending is a bit too tidy, but it’s a film that feels genuinely dangerous…
None of Mayday’s ideas are bold, and it presents its revolutionary possibilities as nothing more than mere daydream. At the beginning of Karen Cinnore’s Mayday,…
Love Wolf boasts a bold formal idea that’s wielded to unfortunately perfunctory ends. Jonathan Ogilvie’s Lone Wolf, a political thriller told almost entirely through mock…
Copshop finds Joe Carnahan at the top of his game, with the requisite violence, humor, and plot intricacies to sell this brand of genre bombast.…
The Nowhere Inn smartly softens its meta conceit with some winking humor, but doesn’t interrogate any of its ideas or rise above mere brand management.…
Prisoners of the Ghostland is neither Sono nor Cage’s finest work, but it’s a good enough fix for those in need of either’s madman energy.…
Malignant isn’t a start-to-finish success, but its final 30 minutes solidify it as one of the wildest, weirdest horror films in some time. In interviews…
TMBMZM oddly tilts toward authenticity rather than camp, to disappointing results. The Manson Brothers Midnight Zombie Massacre is a title that promises a lot.…
Some pacing issues occasionally upset We Need to Do Something’s otherwise effective tone, but it remains a solid, low-ceiling genre exercise. We Need to…
Wild Indian suggests a possible fascinating study that it doesn’t follow through on, but it does add enough wrinkles and character nuance to remain mostly…
The Show is an imperfect beast, but it’s beautiful and horrifying in a way only Alan Moore can concoct. Northampton has always been a strange…
The Protégé is sometimes tonally ungainly, but its no-frills, old-school action filmmaking are a breath of fresh air in an increasingly CGI-saturated genre. When she’s…
The Night House might only be the latest horror film to supplant subtext with text and dread with loud sounds, but notable for being among…
Wildland suffers for its underdeveloped characters and themes, but its sense of intimacy stands out in a genre often tilted only toward style. Watching Wildland,…
Habit sounds like fun, should be fun, wants to be fun; it’s more like Hell. Bella Thorne plays a Los Angeles party girl who masquerades…