Contributor: Paul Asay

This horror flick is exactly what you think it is: would-be killers chasing around would-be victims with sharp things.

A Wrinkle in Time is no masterpiece. But it still has a wrinkle or two of its own that families can unpack and discuss.

Death Wish suggests that society’s most troubling issues can best be addressed by the blazing barrel of a vigilante’s gun.

There’s a lot going on in Annihilation—a tense, freaky, bloody sci-fi rumination on the cyclical nature of life, death and rebirth.

This movie tells us that Samson was “a man whose heart was as vast as his strength.” It seems to take its cues from Braveheart.

For all of its restraint in some areas, this movie’s twisted spirituality is as bothersome as its spirits.

The Death Cure serves as a dissatisfying ending to an only passably serviceable franchise.

12 Strong is a previously classified true story populated by heroes.

Both aesthetically and morally, this film is a minor disaster.

I, Tonya is presented as a dark comedy, and yes, it can be funny. But it’s a tragedy, too.

Molly’s Game may leave viewers feeling like they’re holding a bust hand: cards that look promising, but that add up to nothing.

Film Stars Don’t Die in Liverpool is the sort of movie that, one might argue, Discerning Filmgoers Won’t See in Theaters.

This drama is meticulously crafted, both covering and revealing vulnerable truths underneath. But it’s unsettling, too.

It’s not fake news to say that this story is pretty compelling.

For a story that wants to give viewers a moral, universal fairy tale, its gratuitous moments sure restrict its potential audience.