This Anaconda takes only the lightest of jabs at the Hollywood machine.
This biblical fantasy’s dreary, static solemnity invites comparison to Robert Eggers’s work.
Chapter 2 plays for a while like a needlessly extended epilogue to the first film.
The film plunges us into a world that feels simultaneously naturalistic and otherworldly.
The film follows too closely in the footsteps of John Hyams’s documentary of the same name.
For better and for worse, the film breezily keys itself to its main character’s demeanor.
The Lost Bus may remind you of ’90s blockbusters like Dante’s Peak. But should it?
The film is a vivid meditation on human possibility in the face of fate and nature’s power.
The film is fascinated with the ways in which cinema, politics, and personal history co-mingle.
The film mines unnerving tension from the absurdity of its main character’s confinement.
Panahi’s film is a reflection of his currently fractious relationship with his homeland.
Chuck Russell is certainly committed to making an old-school, effects-laden genre thrill ride.
Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
The film is less a work of clear-eyed introspection than a calculated image rebrand.
Baker’s awards darling Anora gets the red-carpet treatment from Criterion.
In the end, though, Cage can only do so much to bring this hastily assembled oater to life.
Black Bag is the kind of old-fashioned caper that Soderbergh can make in his sleep.
The Visitor turns Teorema’s subtext into scathingly funny text.
Clearly the marketing of Flight Risk’s 4DX theatrical option is an act of overcompensation.
The film intriguingly plays with our expectations of who the heroes and villains are.