Gillian Flynn’s new Prime series is an ambitious saga that offers loads to chew on, assuming you can handle the bleakness of it all.
Kurtis David Harder’s new horror allegory can’t sustain its political or narrative ambitions despite a few spooky moments.
The latest from Sean Durkin is a quiet, searing look at a family falling into disarray featuring stellar work from Carrie Coon.
Martial arts veteran Mark Dacascos shines in a killer-cab thriller; if only the movie around him was up to his level.
Christopher Nolan’s latest sci-fi thriller is often something to behold, but it’s nowhere near the brilliant art it thinks it is.
An interesting concept is buried under limp writing and under developed characters.
Martin Kraut’s debut pits two tortured male nurses against each other in a tale dripping with horror and unexpected queerness.
Tarsem’s sci-fi/horror/serial killer drama suffered from an implausible plot, but remains a feast for the eyes.
David Lynch’s 1990 thriller remains a scintillating, if inessential, piece of the filmmaker’s gonzo catalog.
Christian Alvart’s remake of a 2014 Spanish thriller turns post-Wall German backwoods into a tense stage for murder and grit.
Ivo Van Aart’s uneven black comedy/thriller about a vengeful writer is ultimately more style than substance.
A half-remembered tale of revenge, Park Chan-wook’s 2003 thriller is still as steeped in extreme cinema as it is ancient tragedy.
Rough around the edges but fascinating nonetheless, Park Chan-wook’s breakout hit remains a signal of his later work.
Shia LaBeouf shouldn’t have been the center of a movie about Latinx street gangs, but he’s also the only bright spot in David Ayer’s latest misfire.
With loss of control dressed up in nutty numerology, Joel Schumacher’s 2007 thriller is a flawed thematic tie-in to his other work.
Dave Franco kicks off his directorial career with an atmospheric if aimless vacation-thriller co-written by Joe Swanberg.NOW STREAMING: […]
Joel Schumacher’s sleazy, sweaty neo-noir of porn and pain remains a bizarre artifact for the director’s filmography, and it hasn’t lost its bite.
Joel Schumacher’s 1990 foray into psychological horror wasn’t just a look at mortality, but also a meditation on what lie on the other side.