Mike Flanagan reimagines Poe’s oeuvre as a nimble, tonally capacious collection of fables.
Clay Tatum’s film is wholly and refreshingly uninterested in tugging at the heartstrings.
As far as improvements go, Michael Myers’s revitalized brutality is arguably the only successful one that Halloween Kills makes.
Mike Flanagan’s Midnight Mass exudes a narcotic pull in everything from its aesthetics to monologues that suggest the weight of confession.
Ted Geoghegan’s Mohawk is a survival-of-the-fittest film that’s charged with a thunderous urgency.
A confident work that smashingly updates the Southern gothic for contemporary generations.
Anja Marquardt feels the need to puff up her film with relatively artificial conflict that generally comes off as sops to screenwriting conventions.
Cool title though.
This is a coming-of-age tale that begs to be taken as a dreamy slice of countryside profundity.
The Catechism Cataclysm meaninglessly shows how scary it can be to live your life as a protagonist in a shaggy-dog story.
Michael Tully is earnest and sincere, qualities that should not be taken for granted, but his self-consciousness cripples Septien.
An appealing little oddball of a movie, Septien is ironic yet genuinely sweet.
With Great World of Sound, director Craig Zobel is shooting fish in a barrel.
The most striking reference point for David Gordon Green’s Undertow is Charles Laughton’s The Night of the Hunter.