Michael Roffman

Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.

Something’s missing in Complete Unknown, and it’s a spiritual issue. The problem is that for this situation, the unlikely reunion, a natural approach restricts any and all sensationalism, which is why the ending neither bruises nor squeezes — it just lingers.

It’s an ode to this country’s oft-forgotten middle, where the struggle is, indeed, very real. As such, Certain Women is not always thrilling, but it’s certainly faithful.

The Greek filmmaker builds a stunning world with The Lobster, and much of its success stems from the inherent mechanics and the less-is-more storytelling that drops empty spaces for the mind to paint.

Abrams and Kasdan’s respective humor and pathos push the characters beyond some of the more rote and redundant storytelling. So while it’s not always compelling, it’s always fun.

A cold, visceral, and overwhelming piece of cinema.

It’s an aesthetically addicting experience that capitalizes on these seasonal feelings, offering an unlikely escape with the press of a button.

This is the great American nightmare, in which neither families, friends, neighbors, nor lovers can save you, and no matter what you try and no matter where you go, it won’t stop until you do. There is nothing more terrifying than that.

Carpenter is patient in pulling away our warm blankets by slowly easing into the horror, simply by allowing the horror to slowly stalk us.