The Rick and Morty vibe takes a lot of getting used to, but there are glimmers of promise in the latest Star Trek adventure.
Author: Clint Worthington
The man who arguably put South Korean cinema on the world map is the focus of this month’s retrospectives.
Gemma Arterton is bristly and charming in this WWII-era melodrama, but it’s almost a little too weightless for its own good.
Rob Savage wrangles a tight, heart-stopping screen-based horror flick out of six actors, practical scares, and a Zoom call.
Michael Phelps produces and narrates a heartfelt piece of mental health advocacy for Olympic athletes.
Indonesian horror maestro Joko Anwar returns for another piece of chilling, atmospheric folklore.
Dave Franco kicks off his directorial career with an atmospheric if aimless vacation-thriller co-written by Joe Swanberg.NOW STREAMING: […]
From Rodney King to Donald Trump, Michael Douglas’ D-FENS remains the pluperfect case study for white grievance politics.
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.