In purely visual terms, this might be Perkins most accomplished film yet, with arresting cinematography from Jeremy Cox and striking monster design that gets under your skin.
The many pleasures of the first Wicked film—extravagant set and costume design, colorful effects, commanding central performances, and some bubbly, catchy tunes—are all diminished to some extent this time around.
This good-natured comedy from writer-director-star Aziz Ansari rarely boasts big laughs or especially memorable moments, but evokes an agreeable Frank Capra sentimentality.
This is essentially Bram Stoker’s Dracula with strong lean towards period romance, and remains compulsively watchable throughout thanks to writer-director Luc Besson’s flair for the preposterous.
his unusually downbeat story features some gorgeous cinematography on the coast of Southwest England and two endearing performances from Gillian Anderson and Jason Isaacs.
For some out there, this film will resonate on the same level as an Amélie or perhaps Joe Versus the Volcano, and earn the type of adoration its protagonists so desperately seek.
Despite some terrific 1980s production design and a few memorable horror set pieces, this Conjuring movie isn’t nearly scary enough to compete with James Wan’s first two movies.
This new version of the 1989 classic boasts a pair of engaging lead performances from Benedict Cumberbatch and Olivia Colman along with terrific production design and location cinematography.
This scene-for-scene remake of Thomas Vinterberg’s 2020 film is so close in story, tone, and spirit that there’s little value for anyone who remembers the earlier film.
This R.L. Stine adaptation perfectly captures the 1980s slasher movie aesthetic of films like Prom Night, but there’s one problem: those movies were never all that good in the first place.
This fast-paced adventure benefits from peppy direction by Guy Ritchie and charismatic performances from a cast led by John Krasinski and Natalie Portman that results in a largely agreeable experience.
If this is Marvel’s answer to The Suicide Squad, it feels a lot closer to the much-derided 2016 version than James Gunn’s 2021 revision.
This espionage thriller boasts a captivating performance from Malek and slick direction from James Hawes, but also a tangled mess of a plot that fails to connect on multiple levels.
A unique setting, taut direction, and engaging performances keep Drop compulsively watchable despite an underwritten script that leans far too heavily on familiar thriller tropes.
Almost a beat-for-beat redux of Captain America: The Winter Soldier, this grounded political thriller is a welcome return to Earth for the MCU after years of multiverse stories.
The curse of lycanthropy is a metaphor for intergenerational trauma in Wolf Man, director Leigh Whannell’s disappointing follow-up to 2020’s The Invisible Man.
The first film in more than 10 years from lead actress Cameron Diaz is as disposable as most of these direct-to-streaming family-action-romance-comedies.
Fast & Furious franchise stars Luke Evans and Sung Kang star in this diverting action film from the Luc Besson factory.
While initially breezy and appealing, Greedy People turns sour during a climax that feels far too mean-spirited for the lightweight film that preceded it.
This slick, fast-paced adaptation of Stephen King’s 1975 novel overstuffs a narrative better served in TV adaptations into a breezy runtime.
This allegorical horror film lacks the brutality of some of director Alexandre Aja’s earlier films, but makes up for it with eerie cabin-in-the-woods atmosphere.
Despite first-rate use of Prague locations and solid lead performances by Bill Skarsgård and FKA twigs, this version of The Crow stumbles in its revenge movie storytelling.
This throwback to sleazy 1980s sex thrillers has plenty of visual appeal and scene-stealing work by Halsey and Kevin Bacon, but a lackluster narrative sinks it.
Despite minimal bloodletting, this one is unrelentingly grim and entirely terrifying throughout, even if there’s a palpable lack of originality in the storytelling.