Whoopi Goldberg and a young Neil Patrick Harris lead a grief drama whose wild tonal shifts, racial shortcuts, and manipulative sentimentality make it more fascinating as a curiosity than successful as a film.
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A suburban street full of dinosaurs should be easy entertainment. The End of Oak Street buries that premise beneath failed comedy, cheap-looking effects, bad logic, and painfully sentimental family drama.
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Zach Cregger’s Resident Evil puts an ordinary courier through the games’ most frightening—and frustrating—survival rules. It’s the best adaptation yet, though the final act goes too big.
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From A Clockwork Orange and The Matrix to Arrival and The Laplace’s Demon, these ten films test whether choice can survive conditioning, prophecy, and causation.
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Christopher Nolan’s Memento is not simply a puzzle about memory. Its reverse chronology reveals how Leonard turns self-deception into an external system, allowing one version of himself to manipulate the next.
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Taratoa Stappard’s Mārama brings Māori history into a beautifully designed Victorian Gothic manor, but slow pacing and overly obvious symbolism weaken its colonial reckoning.
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Hirokazu Kore-eda’s Shoplifters finds beauty, love, and lasting memories inside a makeshift family whose reckless and sometimes criminal life together was always destined to end.
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Black Box has a convincing airplane set and one energetic alien attack, but its stock passengers, awkward writing, inconsistent creature rules, and overreaching effects leave the high-concept premise grounded.
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A terrible but occasionally funny SNL film, It’s Pat reveals how gender anxiety and the need to categorize can turn curiosity into obsession.
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Hysteria is at its best when everyone has a defensible version of the truth and a selfish reason for insisting
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This article contains major spoilers. Dystopian films are often treated as a collection of recognizable images: surveillance cameras, brutalist architecture,
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This essay contains major spoilers for Shutter Island (2010). I remember the first time I saw Shutter Island vividly. My
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Sweetheart (2019) gets a lot of mileage out of a simple fear: the ocean is scary as hell. J. D.
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Opus works best before it explains anything. For much of writer-director Mark Anthony Green’s feature debut, the film traps its
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Most horror films give fear a recognizable shape. The killer wants revenge. The ghost remains attached to a particular place.
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There is something deeply unpleasant about watching an inanimate “object” suddenly appearing in a different spot. Oddity works with this kind
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There is a compelling idea at the center of Alexandre Aja’s Never Let Go (2024): abuse reproduces itself. Trauma doesn’t remain sealed
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