Tak Sakaguchi slashes his way through nearly 600 bad guys in a single take, but the audience gets exhausted long before he does.
Martin Kraut’s debut pits two tortured male nurses against each other in a tale dripping with horror and unexpected queerness.
Christian Alvart’s remake of a 2014 Spanish thriller turns post-Wall German backwoods into a tense stage for murder and grit.
Kana Yamada’s stage adaptation Life: Untitled offers a glimpse into the lives of women on the margins of Japanese sex work.
Young men wade into the waters of Trump-era politics, showing a haunting, hopeful glimpse of our political future.
Boimler and Mariner run afoul of a drunken Klingon, and Rutherford has a Starfleet identity crisis.
From kaiju seafood to murder mysteries to documentaries about Tiny Tim, Fantasia 2020 has all the cinematic weirdness you crave this year.
The Rick and Morty vibe takes a lot of getting used to, but there are glimmers of promise in the latest Star Trek adventure.
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.