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. Returning…
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. If…
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 and…
TMBMZM oddly tilts toward authenticity rather than camp, to disappointing results. The Manson Brothers Midnight Zombie Massacre is a title that promises a lot. For…
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 Do…
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 compelling.…
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 place.…
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 rescued…
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 the…
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, the…
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 as…
Demonic suggests a few novel, fascinating twists to the horror template, and then runs away from them as fast as it can. In the six years…
The Last Matinee is a modern Giallo effort that fails to reimagine, evolve, or even properly understand the form. The use of movie theaters as a…
Raging Fire is fairly staid as a cop-film actioner, but it proves that Donnie Yen, even as he approaches 60, can still deliver. When credits roll…
Escape from Mogadishu is an utterly regressive film that exploits real-life tragedy and trades in offensive screen signifiers. Action movie maestro Ryoo Seung-wan’s latest film, Escape…
Naked Singularity is generic as a heist film and barely-conceived as science fiction, leaving almost nothing here to care about. Just about as unexciting as a…
John and the Hole mistakes ambiguity for depth at every opportunity, forgoing actual psychological probing in favor of shallow posturing. Tapped by Cannes for its theoretical…
Tailgate is a thriller in name only, mostly devoid of tension and entirely schematic. One wonders what exactly the point is of such a thoroughly incurious…
Outdated from its conception and only increasing its failures with each passing minute, Twist does Dickens seriously dirty. Twist, the latest adaptation of the Charles…
Masquerade fails to clear even the lowest bar of a home invasion flick, delivering a late-film jolt that is far too little, too late. Like many…