Shudder’s latest is at least as much a relationship drama as a monster movie, but somehow isn’t bad.
Rose Glass writes and directs an unforgettably creepy story about a troubled young nurse’s efforts to save her patient’s soul.
The romantic drama is all beautiful, dreamy surface, and no depth.
Even beyond its handling of its autistic character, “Music” is a terribly constructed film.
Cathy Yan’s debut feature already shows an assured and clever director’s eye.
Lee Isaac Chung’s Sundance winner is a well-intentioned and sweet family drama that can’t help but feel incomplete.
Jerrod Carmichael’s feature debut straddles a delicate balance of tones between comedy and dark thriller, buoyed by a couple of strong performances.
Robin Williams smarms his way through his misguided, treacly 1998 medical dramedy.
Giddy on up with Cowboys and its unique take on the hallmarks of the Western genre.
Olivia Cooke and Jack O’Connell shine in a melodramatic, but immersive romantic tragedy that mimics the isolation and loss of our current moment.
Robin Wright makes her directorial debut in a tender & understated drama about a woman who isolates herself from the world after an unimaginable loss.
The Shudder original turns the creation of “Frankenstein” into bad psychodrama theater.
The latest from NYC-based filmmaker Ben Hozie is a taut drama about sex, money, and the Internet.
Rodney Ascher’s psychedelic documentary takes seriously the idea that we’re all living in a simulation, and stirringly explores the parameters of that premise.
Arjitpal Singh’s drama about a rural family in the Himalayas struggling to get by leans on strong performances and interlocking class critiques.
Erin Vassilopoulos’ thrilling debut merrily plays with the film noirs of the past while spinning it into something vibrant and new.
Martine Chevallier and Barbara Sukowa shine in Filippo Meneghetti’s achingly tragic debut.
Nick Bilton’s documentary-slash-zoomer ethnography investigates whether you can game your way to social media fame.