Texas Chainsaw Massacre is yet another forgettable series entry, distinguished only by its lame attempts at social relevancy. When David Gordon Green revived Laurie Strode…
All the Moons is a gorgeous, sorrowful, and achingly sensitive fairy tale. Though it at first looks like a typical, if particularly handsome, period vampire film,…
Here Before suggests early promise, but ultimately settles into rote psycho-thriller styling and manipulative table-setting. Stacey Gregg’s Here Before has all the markers of a good…
The Other Me amounts to little more than an empty spectacle banking on David Lynch’s name. Let’s get it out of the way: the most interesting…
Katz’s film is an understated, elliptical work that speaks volumes in its pointed quietude. Ana Katz’s The Dog Who Wouldn’t Be Quiet appears at first…
Belle as a leaden mess of abject sentimentality and perfunctory technological tedium. If there’s anything to be gleaned from Belle, it’s this: Mamoru Hosoda has…
#17. On its surface an ode to disappearing print journalism and the power of a good editor, The French Dispatch finds Wes Anderson using non-cinematic…
Welcome to Raccoon City is a deeply faithful Resident Evil adaptation, and a deeply bad one at that. If there’s a guiding principle to Resident Evil: Welcome to…
Antlers is a competently made but shallow horror effort, slathered in trauma-heavy metaphor and a questionable abuse narrative. Writing about new horror movies can sometimes feel…
Broadcast Signal Intrusion is built on used parts, but Gentry executes his vision with queasy dread and necessary ambiguity. Working late nights transferring tapes of old…
None of Mayday’s ideas are bold, and it presents its revolutionary possibilities as nothing more than mere daydream. At the beginning of Karen Cinnore’s Mayday, Ana,…
Love Wolf boasts a bold formal idea that’s wielded to unfortunately perfunctory ends. Jonathan Ogilvie’s Lone Wolf, a political thriller told almost entirely through mock surveillance…
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…
The Judith Butler quote (from Dispossession) that opens Jun Li’s Drifting serves as a neat entry point: “Such bodies both perform the conditions of life…
From a certain perspective, there are two types of Takashi Miike movies. The director has worked in more genres across a greater number of films…
In its opening moments, The Fable: The Killer Who Doesn’t Kill immediately establishes what Akira Sato (Junichi Okada), the assassin FKA Fable, can do and,…
PAW Patrol: The Movie isn’t explicitly copaganda, but it isn’t much else either: just toddler cinema designed to sell toys. In their conversation about 3…
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…
Cryptozoo is both technically and thematically potent, but it’s the film’s third act which cements it as an exceptional and surprising animated work. In Cryptozoo,…