Hitman’s mechanics translate well to a 007 experience, though they’re sadly watered down.
Travis Knight’s film is keen to get audiences to laugh at it instead of with it.
The Dark Knight’s legacy goes extremely deep here.
Mandalorian and Grogu is, basically, four Mandalorian episodes wearing an IMAX trench coat.
The exhilaration of Mixtape is in seeing its narrative completely break down walls.
This sequel to the maligned 2021 reboot is ravenous to get down to bloody business.
This is the type of game that used to be Capcom’s bread and butter.
The series has the distinction of being the first Man on Fire adaptation to lack its own identity.
Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
The sheer volume of pastiche on display in Mouse: P.I. for Hire is overwhelming.
Ben Wheatley’s film has a more thoughtful underpinning than your average 87Eleven joint.
The greatest existential threat in the final season of ‘The Boys’ turns out to be reality itself.
BenDavid Grabinski’s film is less of a crime drama than a punch-drunk comedy of errors.
The sequel is just a retread of things that the first film pulled off with more cartoonish energy.
Despite the suspense and terror, there’s still a playfully self-aware spring in the game’s step.
This is a shotgun blast of a movie with no fealty to the conventions of modern gothic horror.
The reboot has arrived at a time when warmth and optimism are precious commodities.
The game does everything it says on the tin, not much more or less.
The film suggests a 21st-century Bosch painting brought to you by OpenAI.
In this beautifully meditative mountain-climbing sim, our world is the enemy.