Tom Hanks admirably buoys a lean, but sloppy WWII naval thriller too sincere to sell its simplicity.
Shudder’s latest offering from South Korea is a limp, wooden retread of every exorcism and possession movie you’ve ever seen.
Netflix and producer Pablo Larraín offers a modest glimpse of quarantine life that can’t escape the privilege of its authors.
Kon Ichikawa’s seminal sports documentar about the 1964 Tokyo Olympics receives a pristine 4K restoration courtesy of The Criterion Collection.
Spike Lee’s longtime collaborator talks about using new instruments in his latest score, honoring Black veterans, and representation in film composing.
Gus Van Sant’s Oscar-winning character drama is a safe, middlebrow nuts-and-bolts picture as formative as it is uncreative for the filmmaker.
Patrick Vollrath’s feature debut shifts from Hitchcockian claustrophobia to tone-deaf xenophobia.
Shudder’s new anthology film pokes fun at horror cliches, but can’t quite overcome a dreary final segment.
Gus Van Sant’s 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Shudder’s latest is a slick but familiar K-horror exercise too thin to land its big narrative twists.
Judd Apatow’s latest is just as overlong and meandering as his usual fare, but boasts a surprising turn from Pete Davidson.
The Afropunk musician-turned-composer talks to us about diving into the complicated musical psyche of Shirley Jackson.
The acclaimed sitcom writer and food traveler talks about cultivating joy and hunger during challenging times.
New Line sends Jason to the final frontier, and sends all the thinly-drawn characters and low-budget kills of the franchise with him.
The composer talks about joining Amazon’s acclaimed mystery series for its second season.
Shudder’s latest is a synthwave sci-fi opera is thinly plotted and unapologetically lurid, but packed with gorgeous grindhouse visuals.
The cinematographer behind much of HBO’s Westworld and TNT’s Snowpiercer talks about the rocky road to filming two disparate sci-fi dystopias.
TNT’s adaptation of the French comic and Bong Joon-ho film struggles to stretch its high-concept premise across an entire series.