Neither as slick and enthralling as Narcos, nor as well-shot or well-acted as Bloodline, Ozark is still surprisingly capable and sometimes excellent. This is solid second-tier TV.
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There’s no better way to describe The Mission than as an exceptional jazz riff.
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As many films try to do but fail, it shows the man in the monster.
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This third Halloween film is worth a look for its horror thrills and critique of holiday consumerism.
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A buddy movie, not a monster movie.
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Perhaps the pre-eminent haunted house movie of all-time.
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This defence of found-footage horror argues that the frequently-criticized subgenre is both formally daring and psychologically revealing.
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The film employs the Christ figure to explore notions of salvation and personhood.
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A thematically satisfying new chapter of Ridley Scott’s Alien series.
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This introductory guide to found footage tells you which films to watch and how to approach the subgenre.
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An assaultive exercise in found-footage terror.
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A staggeringly-coherent allegory with unrelenting emotional intensity.
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Innovates just enough to rise above its limitations.
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A genuine mega-hit that earns its popularity.
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Too slow-paced and saggy to work effectively as a heist comedy.
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Combines emotional depth with insight on race and culture.
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Let There Be Light is short and always remains engaging, even if it seems to be jumping the gun as pertains to this particular subject matter.
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Schrader’s new film acts as the culmination of his work as a filmmaker and critic.
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About as accessible as a Hong Sang-soo film is likely to get.
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A profound disappointment coming from such talent.
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