Surprisingly, K-Pop Demon Hunters tells a well-developed story with clearly drawn characters.
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Paul Thomas Anderson has produced a rousing, riveting genre picture with One Battle After Another.
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The Great Escape is a hugely entertaining landmark in the prison camp and action team genres.
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Ray Mendoza and Alex Garland’s Warfare is impressively intense, but never thematically coalesces in the moment.
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Kiyoshi Kurosawa’s 2001 J-horror film predicted the new millennium in terrifying ways.
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The Poughkeepsie Tapes is redundant in a media culture saturated with serial killer stories.
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Ghosts of Mars is minor Carpenter, but still an enjoyable riff on Assault on Precinct 13.
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Tron: Ares succeeds as an audio-visual sensory experience but it lacks substance.
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Danny and Michael Philippou’s follow-up to Talk to Me is a more gruelling, complete film than its predecessor.
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Happy Gilmore is the most perfect example of Adam Sandler’s comedic abilities and appeal.
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Zacharias Kunuk’s latest Arctic-set adventure film embraces the fantastical elements of myth.
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Zach Cregger’s ambitious new horror movie is another cinematic prank.
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Olivier Assayas’s Suspended Time is a rarity: a thoughtful look back at the COVID-19 pandemic.
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Sophy Romvari’s feature debut blends autofiction and documentary to devastating effect.
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James Mangold’s 2003 thriller is memorable for its craftsmanship and absurdity.
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Cecil B. DeMille’s Canada-set epic could have benefited from a stronger narrative focus.
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A hilariously stupid pure comedy in a Hollywood severely lacking them.
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Marvel’s first family finally joins the MCU in this solid superhero film that gets at the appeal of the classic comic book characters.
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The latest film in the Final Destination series is too in on the joke.
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Richard Donner’s Superman: The Movie is the quintessential Superman movie, even if it’s an imperfect film.
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