The Manor isn’t necessarily a good film, but it’s a fun enough lite-horror outing that reflects an improvement from the Blumhouse/Amazon team-up. The law of averages…
Diana: The Musical is a tacky and tactless propanada mission that subverts its own fun flashiness with remarkable bad taste. When I was thirteen, I was…
V/H/S/94 isn’t entirely successful, but it marks an upswing for the anthology franchise from its last entry. The first V/H/S film was a novelty, a throwback to…
Black as Night is a remarkably dull vampire flick riddled with awful centrist politics. Part of the second wave of Blumhouse castoffs that have been repackaged…
Bingo Hell is at least a horror film unlike last year’s Amazon/Blumhouse offerings, but is too full of questionable craftsmanship and hollow messaging to recommend. The…
The Guilty should be primed for easy thrills, but Fuqua’s bland direction and the Scriptwriter 101 screenplay sap the film of any tension. Antoine Fuqua has…
Birds of Paradise benefits from gorgeous compositions and dreamy direction, but it never quite reaches the heights its artful pirouetting suggests. On paper, Sarah Adina Smith’s…
Everybody’s Talking About Jamie is a reductive, self-congratulatory musical that deeply cheapens its real-life subject. Everybody’s Talking About Jamie…everybody, that is, except Amazon Studios, who have…
The Starling is merely the latest by-the-numbers “issues” flick in Theodore Melfi’s bland filmography. It seems that director Theodore Melfi has never met a subject where…
Cinderella has exactly one idea to distinguish it, and it’s a bad one. 2021’s latest interpretation of the Cinderella fairy tale comes courtesy of Pitch Perfect…
Kate isn’t doing anything new from an action-narrative perspective, but slick choreography and gleeful violence helps this girlboss brutality go down smoothly. Kate, a female…
Martyrs Lane is the latest horror film built around a metaphor for trauma in which boredom and cliche trump any catharsis. There’s a palpable sense…
Fucking with Nobody is a radical, playful bit of meta-comedy that executes its risky conceit with aplomb. For her sophomore feature, Fucking with Nobody, Finnish director…
Diaz’s signature long-takes here work more to push the material into territory of fatalism rather than substantive political observation. Lav Diaz knows violence. The director’s…
Superhost isn’t heavy on style and runs out of steam too early, but Gracie Gillam’s outlandishly unhinged performance keep things from becoming bland rehash. A companion…
Yellow Cat is the kind of cribbing-as-mode film that illuminates nothing other than the kinds of movies its director likes. Godard once declared that all you…
Vacation Friends feels like the umpteenth trip to the same tired destination. A film whose spec script has been kicking around Hollywood for so long that…
The Old Ways is a mid-budget genre gem with a few tricks up its sleeve to keep these fresh. Possessions and exorcisms have been a…
He’s All That is a lazy, purely nostalgia-driven dud that rehashes without imagination or innovation. The very real nostalgia that exists for 1999’s She’s All…
Purple Sea is an arthouse trifle that merely effects the posture of serious cinema. In his 1975 book Notes on the Cinematographer, austere French director Robert…