The Way Brothers’ raucous film about the Danbury Trashers plays like a sequel to their previous sports documentary, The Battered Bastards of Baseball.
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Rodney Ascher’s film on the simulation hypothesis plays more like a religious testament than a documentary primer.
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Kiyoshi Kurosawa’s horror drama is a quiet film with a haunting effect that’s as disturbing as anything you’ll find in horror cinema.
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Depending on your affection for and familiarity with exorcism films, Christopher Alender’s The Old Ways may seem admirably novel or hopelessly rote.
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Andy Serkis’s Venom sequel is a deliriously entertaining, profoundly goofy camp blockbuster.
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Leo Gabriadze’s found-footage horror movie about cyberbullying reinvents the slasher for the digital age.
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Nia DaCosta’s legacy sequel to Candyman is an ambitious horror movie with a great visual style and score that’s held back by its disappointing ending and reductive themes.
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Eva Orner’s documentary about the Australian bushfires of 2019-2020 is a quick-paced and informative, if overly conventional, work that’s best when it lets its anger fuel its storytelling.
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Danis Goulet’s debut feature is a potent sci-fi allegory for residential schools held back by its generic dystopian worldbuilding.
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Ho Wi Ding’s provocative Taiwanese drama about loneliness and voyeurism clarifies its themes and narrative in startling fashion.
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Despite its ridiculous title, Edwin’s Vengeance Is Mine, All Others Pay Cash is more sedate arthouse picture than martial arts extravaganza.
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David Lowery’s adaptation of the Arthurian poem is a strange, bold, and bewitching act of revisionism.
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Bernard Rose’s modern horror classic is a striking film with a memorable villain and a potent subconscious effect.
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Rodo Sayagues’ follow-up to the 2016 home invasion horror film is a surprisingly effective and nasty sequel.
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James Gunn’s The Suicide Squad plays like Guardians of the Galaxy with more violence and swearing.
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A film as ironically distanced, and ultimately, disposable as a Twitter thread.
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The conclusion of Leigh Janiak’s Fear Street trilogy comes undone due to its narrative structure.
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Fear Street Part Two: 1978 is the best film in the trilogy due to its well constructed relationships and emotional storytelling.
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Fear Street Part One: 1994 plays like Stranger Things, but for teen fans of horror movies.
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In its best moments, No Sudden Move recalls the easygoing crime plotting of Elmore Leonard.
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