Godzilla and Kong’s team-up is an inevitability, but the film takes its sweet time getting there.
Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.
Wingard discusses how Death Note fits into his larger career ambitions.
The more grounded scenes from Death Note anchor a startlingly bloody fantasy of power run amok.
It doesn’t suggest documentary footage found in the woods so much as a haunted-house version of Hardcore Henry.
It connects 1980s horror-movie nostalgia cleverly and implicitly to the real fears that haunt contemporary American life.
With The Guest, Adam Wingard announces himself as a conspirator of super-cool cine-pleasure.
Dan Stevens has apparently taken to heart the “comments on Twitter about how fat Matthew was looking.”
This Blu-ray disc’s disappointing sound mix is still not enough to detract from the film’s gleeful mumblecore-assaulting pleasures.
Throughout, Joe Swanberg connects Generation Y’s fetish for past pop-cultural kitsch to its attending sexual insecurities.
All of them have earned their right to be here, either by standing on the shoulders of giants or wildly impaling creatures of the night.
You’re Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
Social media outlets have afforded the horror film an “event” status among younger moviegoers.
Lionsgate sure has been having its fun with the poster campaign for You’re Next.
It’s a welcome contrast to the first film’s snuff-y atmosphere and mean-spiritedness.
Another opening-night gala screening, another crapshoot.
The horror anthology’s finest entries convey how real horror comes in more than shades of red, and how it lives inside us all.
V/H/S is a collection of tales of gender warfare that are scattershot, tasteless, and occasionally quite frightening.
V/H/S exudes, sometimes extraordinarily, a neophyte’s sense of courage and cluelessness.
Watching V/H/S is a gruesome and twisted blast.