2022’s Hellraiser is the most faithful and respectful franchise entry since its glory days, but it’s far too safe and straightforward to reclaim the original…
Deadstream takes a while to get going, but the Winters ultimately deliver a smart, playful found footage movie that proves stylistically a cut above. Joseph and…
The Greatest Beer Run is a toothless, dad-movie escapade that spares too little thought for the tragedy that surrounds its lighthearted story, rendering its attempts at…
Sidney often teeters into hagiography, but the clear affection that strips the film of balance is also what animates it so vividly. Narrated in large part…
Even given the present soulless age of Disney franchise resurrection, Hocus Pocus 2 is a slight and bargain bin sequel that will likely appeal only to the…
My Best Friend’s Exorcism is little more than empty pandering that relies on its ’80s texture and horror knockoff clichés to distract from its empty core.…
Rob Zombie’s The Munsters is a film that resists obvious classification, a pure-hearted work that is proudly and thrillingly out of step with today’s world,…
Blonde is visually striking and demonstrates a clear aesthetic character, but Dominik’s insistence on the dogma of his limited themes keeps it from becoming either a…
Sissy wants to have its cake and eat it too, but all of its many ingredients don’t add up to anything new or satisfying. Viewers of…
There’s no denying that Tyler Perry is an auteur capable of fascinating works, but A Jazzman’s Blues is further proof that the director is unsure…
Lou proves to be a surprising and nostalgic actioner for its first half, but it utterly undone by an interminable second half beset by twists…
Catherine Called Birdy features a pleasant, tuned-in script from Dunham, but the whole project is undermined by an unfortunate lack of aesthetic character. Her short…
The Night is another minutiae-oriented short from Tsai, meaning found in the details of its mini symphony of Hong Kong. Following up, as it must,…
The well-intentioned On the Come Up wants to challenge audiences, but can’t overcome a wholly inauthentic and sanitized presentation of its material. After Rosie Thomas shot to…
2022’s Goodnight Mommy fails to find and replicate the nuance of the original, delivering only shallow ugliness in its stead. Actress Naomi Watts is no…
Do Revenge is over-the-top but toothless, sorely lacking any genuine bite and trading in paper-thin social commentary. Director Jennifer Kaytin Robinson (Someone Great) would have…
Drifting Home can be plagued by its narrative convention and visual monotony, but it’s also a charming portrait of emerging adolescence that will please plenty of…
The Cathedral is D’Ambrose’s portrait of the artist as a young man, a bracingly vigorous work and a precise survey of emotional turmoil. After a series…
I Came By is all superficial signaling, failing to build any actual substance, subtlety, or genre thrills into weightless construction. Babak Anvari is less a…
Who Invited Them visits well-worn territory, but its novel navigation of these familiar trappings makes for an effectively discomfiting viewing experience. The Covid pandemic and…