Justin Clark

Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.

BenDavid Grabinski’s film is less of a crime drama than a punch-drunk comedy of errors.

The Bride!’s aims to show that being good in a cruel world is as foolish as falling in love—as foolish as attempting to be out and proud freaks in a repressive society. Guillermo del Toro might be brave enough to let his monsters fight and fuck in their own defense, but Gyllenhaal and her monsters do it nastier, sloppier, and louder as an act of magnificent defiance.

Good Luck, Have Fun, Don’t Die’s obviousness only makes its proximity to the real-life A.I. slop invasion more unnerving, and the extent of what humanity has accepted for convenience’s sake more abhorrent.

Christophe Gans’s film does away with all the psychosexual nuance of Silent Hill 2.

Ryan Prows’s film comes across as just straight-up exploitative.

The beauty of Kristen Stewart’s focus is how she excavates the profound from the mundane.

The film is very old-fashioned in its thinking and approach to fantastical romance, despite some occasional, vague allusions to the fact that it is, still, a 2025 film.

Sylvain Chomet provides only a scant sense of Marcel Pagnol’s creative inklings, such as the ideas and themes that fuel the films that he fights so vehemently to make.

Arco is a children’s adventure set in world that’s literally on fire, which makes the moments of childlike wonder and connection all the more endearing and vital.

The action is horrifying, inventive, and heart-pounding, but it’s also the least surprising part of Predator: Badlands.

The horror here proves as much a dead end as the main characters’ relationship.

The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.

Jiaozi’s film is a sprawling, hyperkinetic exercise in mythological storytelling.

Scarlett Johansson’s direction keeps things simple and intimate in a way that Tory Kamen’s overambitious screenplay doesn’t.

This ferocious adaptation of Stephen King’s 1979 novella as a passion play about class solidarity.

The War of the Roses, both the book and the Danny DeVito film, is an infamously brutal comedy of terrors, and The Roses is cuddly by comparison.

Splitsville thrives on the unpredictability of this formal freedom before settling back into a familiar Hollywood narrative formula: the comedy of remarriage.

The film is paced in such a languid, dreamy way that it’s hard to get a grasp on how each scene connects to the larger themes or the larger mystery until fairly late.

The Naked Gun is of a piece with the “joke in every frame” approach that Zucker, Abrams, and Zucker brought to their best work.

This is a film that projects an unflinching sincerity and optimism, and the first in the MCU, a franchise that has brought much of Marvel Comics’s wildest flights of fancy to life, to really channel the spirit of Kirby’s creations and how that first endeared them to audiences.

Imagine John Waters at the helm of a Terminator 2 remake and you have an inkling of just how wild a pivot M3GAN 2.0 is from its predecessor.

The film’s best trait is the one that permeates every truly great first-contact story—not just the hope that our first meeting with the strangest of strangers is benevolent, or that the universe is too vast to determine they all wish good or ill on us, but that connecting with humanity still has value.

The human struggles at play are too dire and relatable for us to say that these people don’t deserve that level of grace, but making the audience generally sympathize with them doesn’t make spending time with them particularly pleasant either.

As heartwarming as this story remains at its core, it’s hard to shake that you already know how it will play out.

Killer of Killers only gives us just enough to get by, get invested, and get to the goods.

Sans a mythology of its own, or any substantive ties into where the John Wick films go chronologically after this, Ballerina is just another 87Eleven joint.

Here, “ohana” doesn’t just mean family but community, and the film does moving and spirited work in showcasing how crucial it is for us to lift each other up.