The final Fear Street entry is something of a mixed bag, thriving in its eponymous past setting but floundering a bit as the series…
Gunpowder Milkshake is a dog of a film, utterly derivative and lacking in any recommendable action spectacle. Take the weird mythology of the Johns Wick,…
Fear Street Part 2 improves on Part 1 in nearly every way, a slick slasher of high energy, genre play, and legitimate pathos. The second film…
This first Fear Street entry suggests possible upward momentum for the trilogy, but disappoints as a slasher in its own right. There’s promise to…
Good on Paper wittily upsets rom-com conventions, but doesn’t produce much substance beyond this initial fake-out. Following a string of stand-up specials and a…
No Sudden Move is another successful crime caper from Soderbergh, as formally and tonally playful as his best efforts in the genre. The endlessly versatile…
America: The Motion Picture is a dopey, dated take-down of American exceptionalism that occasionally hits its target. America: The Motion Picture, the debut feature from…
Dynasty Warriors buries its littered, low-key strengths under a deluge of CGI nonsense. What does it mean to adapt the video game series Dynasty…
Prime Time is all the more terrifying for its refusal to pathologize its lead in any easy way. Set on the eve of the…
The Ice Road doesn’t trust the straightforward formula of its actioner origins, needlessly complicating things to its detriment. It’s 2021 and the Liam Neeson…
Fatherhood isn’t going to be remembered as a comedy classic, or much at all, but given its rocky road to release, it could have been…
Awake is more likely to put viewers to sleep than scratch any genre film itch. In Awake, Netflix’s latest high-concept thriller, Gina Rodriguez stars as…
Ghost Lab works as a bit of weirdo fun for a while, but the film’s playful tone is obliterated halfway through and never recovers.…
All cinematic technique that makes Snyder a fanboy favorite feels sorely missing in the bloated, ugly Army of the Dead. Recovering from what must…
The Woman in the Window neither takes advantage of its unique setting nor matches the nuance of its Rear Window inspiration, rendering the whole thing fairly…
Oxygen’s high concept unfortunately hampers Aja’s ability to impress much on either a visual or narrative level. Seriously erratic genre auteur Alexandre Aja is…
Monster is a messy, crude, and politically flaccid throwaway flick that probably should have just stayed on the shelf. Premiering at Sundance in 2018 to…
While The Mitchells vs. the Machines doesn’t live up to obvious touchstone The Incredibles, it rides its own humorous and referential wavelength to mild success.…