Cheap, creaky jokes and overstimulated filmmaking plague a too-late sequel no one asked for.
Robert Pattinson and Willem Dafoe crash upon the ramparts of Robert Eggers’ disquieting followup to The Witch.
Among the Mouse House’s stable of live-action remakes, this sequel to the 2014 prequel goes down a lot smoother than its contemporaries.
We look back on Martin Scorsese’s 1980 boxing drama, and how Joe Pesci became one of the most pivotal players in the filmmaker’s stable.
Upstream Color’s Shane Carruth stars in a haunting, atmospheric horror film about what lies beyond the pale.
This animated reboot of TV’s spookiest family plays its kid-friendly scares a bit too safe.
Wyrm writer/director Christopher Winterbauer sits down at Fantastic Fest to talk about the analog appeal of ’80s kitsch and adapting shorts to features.
Vince Gilligan returns to the fate of Jesse Pinkman in a thrilling, meditative neo-Western epilogue made strictly for Breaking Bad devotees.
Ang Lee’s ambitious young-vs-old futuristic thriller is a misfire of cranked-up frame rates and muddled plotting.
Joker’s box office take this opening weekend is nothing to laugh at, as the DC Comics experiment paid off handsomely for Warner Bros.
Romania’s Corneliu Pourumbiou bogs down excellent production design in droopy, exposition-heavy noir trappings.
Takashi Miike’s gazillionth film is a riotous yakuza caper that traffics in the filmmaker’s impeccable balance of extremes.
Steven Soderbergh serves up a messy capitalist critique in the shell of a slick, simplistic essay film.
This month, we celebrate The Irishman by looking back on the works of one of New Hollywood’s most enduring voices.
Todd Phillips’ seedy, 3edgy5me imagining of the Clown Prince of Crime is as artfully made as it is disturbingly retrograde.
Nadav Lapid’s latest film loads its narrative with impactful stories about masculinity, language, and nationality.
Pedro Almodóvar graces us with a shaggy but rewarding portrait of a middle-aged director wrestling with his demons, with an arresting turn by Banderas.
Childe Roland to The Dark Tower came, and unfortunately, he brought all of us along with him.