Kin is darker and far less enjoyable than its publicity materials might have you think.
Mile 22 is dumb, frenetic and oh-so bloody—a feature-length romp through a hurricane of fists and feet and death.
The Wife offers a beautiful, complex, chaotic portrayal of a married couple whose relationship is haunted by a dark secret.
Slender Man is just a bad movie, and bad in every possible way.
This breakneck cinematic blender is set to “liquefy,” the top is off, and you’re the main ingredient.
While we can’t turn a blind eye to Blindspotting’s excesses, neither can we turn away from its multilayered message.
Dark Web delivers a deeply creepy cautionary warning—albeit in the trappings of a relatively restrained R-rated horror movie.
The movie’s well-meaning messages are undercut, sometimes literally, at every turn.
Skyscraper is a CGI-infused hodgepodge of derivative bits culled from more memorable disaster thrillers.
All the awkwardness of early adolescence is here. Yet, it left me wondering why so much of it had to …
While the characters have more meat to them than you might expect, their own flesh is all-too-frequently pierced
Ocean’s Eight gathers the usual shady content suspects—such as foul lingo, illicit larceny, boozy tippling and light sensuality.
Whatever strengths the movie has, it doesn’t mitigate the content it wallows in to get there.
Adrift is one of those films that sails through some pretty major cinematic crosswinds.