This is one movie I’d rather not see replicated anytime soon.
Despite its impressive pedigree, Widows is ultimately snared in its own web.
The nasty web this sequel weaves is still sticky with R-rated problems.
This grim indie thriller tries to be many things at once—like an unlikely Agatha Christie-Quentin Tarantino mash-up.
Despite some compelling cinematic moments, what we end up with here is basically Gone Girl-lite.
Along with its spirituality, The Nun invites a whole host of supernatural grotesquerie to the party.
This flick is a horribly written 102 minutes of bloodletting and spewed foul language.
This cautionary thriller unspools via security cameras, iPhones, Macbooks, YouTube videos and social media messages.
This film blends its eerie atmospherics with brief moments of terrible, frighteningly realistic bloodshed.
This breakneck cinematic blender is set to “liquefy,” the top is off, and you’re the main ingredient.
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.
Day of the Soldado is propelled by jarring, violently graphic imagery that seems designed solely to shock.
Breaking In is one of the most frenetic, violent salutes to a mother’s love that you’ll likely ever see.
