Kristen Stewart and Katy O’Brian are great in Rose Glass’s erotic neo-noir, but the grab bag of genre elements leaves something to be desired.
Read MoreJack Smight’s 1969 adaptation of Ray Bradbury’s short story collection is not an ideal adaptation, but does capture some of surreal power of Bradbury’s work.
Read MoreOsgood Perkins’ Longlegs is an inconsistent mishmash of The Silence of the Lambs and Cure.
Read MoreFrank Darabont’s Stephen King horror adaptation plays like a dry run for The Walking Dead.
Read MoreThis sequel to the surprise Netflix horror hit, The Platform, loses the elegance of its predecessor.
Read MoreShyamalan’s 2004 film has its merits, but revisiting it reveals the muddled philosophy that drives it and robs it of many key thrills.
Read MoreThe Faculty is Invasion of the Body Snatchers for the MTV generation.
Read MoreFrancis Ford Coppola's strange political fable is an absurd, admirable moonshot of a film.
Read MoreDavid Ayers' The Beekeeper is one of the most gloriously dumb movies of recent years.
Read MorePaul Schrader's Oh, Canada is for true Schrader heads only.
Read MoreMalcolm Washington's The Piano Lesson relies on the strength of its source material to compensate for some of its ambitious, if uneven, filmmaking choices.
Read MoreHong Sang-soo's latest minimalist work is a charming, emotional work that investigates art and romance.
Read MoreDavid Cronenberg's latest is a sad, strange elegy to his late wife.
Read MoreJeremy Saulnier's Rebel Ridge is a return to form and a tense action thriller about crooked cops.
Read MoreThis horror thriller from Rowdy Herrington, the director of Road House, plays as an effective, Brian De Palma-esque work.
Read MoreTim Burton's Beetlejuice sequel has fun elements, but its frankensteined script doesn't hold together.
Read MoreA minor hit on the path of the modern swashbuckler, from Robin Hood: Prince of Thieves to the Pirates of the Caribbean movies.
Read MoreJerry Seinfeld's Pop-Tarts farce is a misfire on almost every level.
Read MoreGreg Kwedar's Sing Sing is best when it examines the art of acting, worst when it plays like a conventionally inspirational prison movie.
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