The Possession of Hannah Grace is, frankly, little more than a cold room chock-full of bleak and bloody bumps and …
Roma remains a deeply affecting work—stunning in its use of light and shadow, resonant in its unassuming storytelling.
Despite its impressive pedigree, Widows is ultimately snared in its own web.
In its graphic depictions of its Nazi horrors (and horrific Nazis), Overlord goes overboard.
The nasty web this sequel weaves is still sticky with R-rated problems.
When someone’s running for public office, should their private lives be scrutinized?
This biopic ultimately (and perhaps unintentionally) depicts the outcome of Freddie Mercury’s choices as a tragedy.
Same-sex attraction is a complex issue, requiring a response full of grace and truth. But both biblical virtues get badly …
This movie’s just terrible. Terrible aesthetically, terrible ethically, terrible in every which way a movie can be.
All it takes is one evil madman to ruin it for everyone. Then again, it only takes one hero to …
Beyond the horrific thrills and chills, beyond the cathartic showdown, slasher movies are about one thing: death.
Can You Ever Forgive Me? feels erudite, entertaining and, in the end, utterly empty.
This grim indie thriller tries to be many things at once—like an unlikely Agatha Christie-Quentin Tarantino mash-up.
Underneath the scars and flaws, underneath the mistakes we make and the falls we take, a tiny glow of our …