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…
Monstrous is the latest metaphor-heavy Babadook knockoff that viewers could do without. Imagine, for one brief moment, if the man behind the infamous 2007 Lindsay…
Memory is a pleasantly riveting watch even as it remains a one-trick pony that’s too reliant on shallow deep state caricature. “If I’m here, it’s…
Hatching is an intelligent, visceral film that avoids metaphor-heavy horror pitfalls and delivers an impressive creature feature. The coming-of-age horror film is a staple with good…
Unbearable Weight is the latest high-concept, one-joke movie, but it’s thankfully a funny enough joke to justify the film’s existence. Nicolas Cage is Nicolas Cage —…
Dual is delightfully off-kilter and funny enough to keep the viewer’s attention, but is undermined by its failures of internal logic and a general impression of…
We’re All Going to the World’s Fair is a bold, terrifying portrait of the Internet’s isolation/connection dichotomy. There’s something bracing about encountering a genuine oddity like…
Midnight is a solid piece of horror escapism, but suffers from a tendency toward familiar narrative and psychological shortcuts. Kwon Oh-seung’s debut feature Midnight is a…
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 to…
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 of…
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; at…
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 meantime.…
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 her…
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 padded-out…
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 runtime. …
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 temporary…