Unlike One Cut of the Dead, this ode to low-budget resourcefulness often rings false.
Men finds Garland turning from science fiction to folk horror and producing a film that exemplifies his best and worst tendencies.
A collage-like tale of vengeance told with an often impressionistic elusiveness, the film can also be bewildering in its juxtapositions.
Apollo 10½ ultimately suggests that memory distorts and amplifies just as much as it preserves.
The film’s funny and shocking gore too often plays second fiddle to meandering comedic bits revolving around the band’s recording sessions.
The new Texas Chainsaw Massacre is a deeply miscalculated mix of incoherent social commentary and over-the-top gore.
Johnson’s inventive docufiction project gets a sturdy transfer and some perceptive extras courtesy of the Criterion Collection.
The solemnity of Josef Kubota Wladyka’s film is at odds with the gratuitousness of its violence.
Beneath the prestige-horror trappings of Hanna Bergholm’s debut feature lies a grungy little creature feature yearning to break free.
Writer-director Nikyatu Jusu’s film ultimately proposes that survival is the greatest form of resistance.
Alice plays as an inadvertent parody of contemporary liberalism’s fascination with and fetishization of ’70s black radicalism.
The film never seems to fully buy into its horror trappings and ends up treating its characters as avatars for multiple grievances.
Throughout The Humans, Stephen Karam orchestrates the highs and lows of a family reunion with Chekhovian subtlety.
C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
Review: Red Notice Is Sludge Waiting to Be Compartmentalized by the Netflix Algorithm
Red Notice is a lifeless pastiche of various blockbuster action-movie styles from the past four decades.
The extras on this release of Lizzie Borden’s under-sung feminist milestone meet the film at its level by centering female voices.
Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
There’s a haunting beauty to Tatiana Huezo’s depiction of the gradual cross-contamination of childhood innocence and criminal aggression.
The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
The film meticulously evokes a 1961 speleological expedition, but its search for thematic resonance is frustratingly general.