This a parable about adulthood boasts deeply cynical takes on home, community, and childrearing.
The film was almost canceled for being too partisan, so it’s ironic to discover that it’s practically apolitical.
It’s best appreciated not with the parts of your brain responsible for reason and judgment.
The film’s tone is extremely eerie, with creeping camera movements, striking imagery, abrupt edits, and a delicately sinister score.
Patrick Lussier’s film is an incompetent, nihilistic exercise in gore and pseudophilosophy.
The film argues we’re stronger and better when we’re home, building communities that can oppress the oppressors.
Would that Jacob Estes had kept the particulars of his murder mystery as intricate as the sci-fi of his main characters’ communion.
Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes.
The dojo of this film is the ultimate unsafe space, a place of deadpan irony and appalling brutality.
The play depends especially on the strength of its leads, and here it has two eager thespians who make the most of its drama.
In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors.
Peele’s follow-up to Get Out unnervingly speaks to the issues affecting a divided nation.
Christopher Landon’s heady and entertaining sequel is a multiverse murder mystery rooted in experimental physics.
The filmmakers fail to realize that the darkest horror here doesn’t lie in the triumph of true evil.
The Vanishing seems truly troubled by its action violence in a way that many similar thrillers aren’t.
When Ralph Breaks the Internet ignores the glittering marvels of the internet and focuses on the rapport between its two leads, it’s deeply moving.
Think of Julius Avery’s Overlord as a reminder from a major Hollywood studio that Nazis are really bad.
The film’s victims are pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
It’s a rallying cry against a suffocating patriarchy that rapes its servants and disenfranchises its daughters.
Peppermint, Pierre Morel’s first feature film set in the United States, is brainless propaganda for the MAGA market.