Ashley McKenzie’s film blossoms into a moving story about two people trapped by the institutions that they’re beholden to.
William Brent Bell’s film proves that not every horror concept has the potential to be franchised.
Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.
Dashcam is every bit the empty provocation as the troll at its center.
David Cronenberg stares upon humanity’s need to evolve toward some kind of survival with a serene, godlike assurance.
At its best, Alfonso Pineda Ulloa’s film gleefully embodies the grungy spirit of classic exploitation cinema.
Despite this clever setup, Tom Gormican’s film isn’t the self-reflexive skewering of Hollywood that one might expect.
Robert Eggers’s The Northman doesn’t lack for blood and guts, but it doesn’t play enough in the well of the weird.
The film’s rote action-movie plotting is calibrated in a ponderously straight-faced way so as to give it some semblance of gravity.
The primacy that it places on its dopamine drip of dread undercuts whatever commitment it might have toward mental illness and trauma.
Once all hell breaks loose in X, the promise of a genre deconstruction all but evaporates.
Throughout Gold, Zac Efron seems almost determined to wipe away the last vestiges of his youthful looks.
Taurus is in the business of self-aggrandizement, but this is a film that understands that stardom is inherently aggrandizing.
Incredible But True Review: A Tale of Vanity and Madness Forged on Creative Autopilot
Incredible But True endlessly draws out every stilted interaction for maximum deadpan effect.
The film is one of the more intrinsically frightening evocations of a traumatized mind since Twin Peaks: Fire Walk with Me.
Dual Review: Even When It’s Treading Water, Riley Stearns’s Survival Comedy Is Hilarious
Riley Stearns’s film consistently tickles the funny bone, even when it comes at the expense of psychological nuance.
Fresh is pitched as a kind of genre corrective, except its tone-deaf cheekiness only results in a feeling of dreary regression.
While its plot is strictly by the numbers, Clean is elevated by its stylistic flair and propulsive pace.
At its best, Speak No Evil plays as queasy satire of conditioned interpersonal behavior.
Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.