Michael Talbot-Haynes

While this adaptation isn’t in the same league as Gordon’s or Richard Stanley’s Lovecraft work, it does have the hideous glow that horror fans will be drawn to.

Leemans puts in one of the best performances I have seen by an actress playing a male prostitute while actually pregnant. Likewise, Hentschel puts in one of the best performances I have seen by an actor playing a pregnant woman tripping on mushrooms while buck-a*s naked. The two completely inhabit each other’s characters, never sinking down to ridiculing them no matter how hard the onslaught of comedy gets.

If you have been fiending all year for a quality drama that shares a different world, then Frybread Face and Me is what you have been waiting for. Luther’s deft screenplay ably gets across a lot of complicated family business in just a few strokes.

So, just know that A Complete Unknown comes off as really boring throughout. None of this will stop Chalamet from shining out with the ultimate movie Dylan. It is a tousled hair masterwork of a performance, completely adapting the essence of Dylan to a folk music Batman.

Mother of Flies is family-made entertainment at its finest, though it is best suited for families that have Xs carved into their shaved heads.

With Candy Land, Swab has delivered a historic flashpoint in the darker side of the film universe. It is a supernova of seediness. The flick is the true bastion of this under-utilized subgenre.

Take Me To The River: New Orleans is edited together in a way more organic to music than traditional documentaries, which works wonders.

Swept Away is truly an amazing movie that is still as potent at 50 years old as it was back in the day.

With Adult Swim Yule Log, Kelly delivers a new dimension in seasonal insanity, and won’t the kids just love it? Just slide your arm into the crazy stocking until you hear a click.

Medusa is an electrifying work of art that elevates its already elevated pop influences, a transcendental tableau of the true-life horror of female oppression.

What You Wish For is everything you could wish for in a well-lit plunge into the abyss. The script’s condemnation of the class system is much more potent than the overrated, sneering misfire The Menu.

The acting is flat-out wonderful.

Kalki 2898 AD is the kind of widescreen majesty that makes the butter of your popcorn shine in the dark. There isn’t anything else like it in the movies right now, so jump right in.

Throughout Sick, Williamson decisively proves that breaking all the rules sometimes breaks the movie.

Caught Stealing is a plodding meander that flagrantly overestimates its appeal.

The juiciness of the storyline overflows into a series of rushing strawberry rapids that will carry you away.

I’m not suggesting Cherry should have a laugh track, because it is not funny at all, despite several attempts at humor.

Bonjour Tristesse is a rich experience in more ways than one, while it also burns beneath with a rising secret fire. Give it some patience, and it will give you an unforgettable experience.

Chokri’s work has a pulse that beats so hard it could split veins. Yet, it remains in a reality that is vulnerable to suddenly wacky quakes.

Sebastian grabs ahold of your attention and pulls it down to the floor.

Unwelcome will work its way into your heart, one tiny stab wound at a time.

The uninitiated may wonder what the fuss is about, but for the true Fassbinder Heads out there, Peter von Kant is a revelation. Ozon has made one of the best homages to a master filmmaker ever made.

To picture the depth of visuals in The Beautiful Summer, imagine a hundred beautiful moments in time standing out in sharp contrast like a string of Christmas lights.

It is well worth sticking your face into Hell Hole, as there is a prize inside the box of wood chips.

While I appreciate getting a cult classic a new coat of 4K to be mean for the stream in fine fashion, Caligula: The Ultimate Cut is not your grandpa’s Caligula.

The Actor shows how much fun there is in the indie sphere for regional values mayhem to be had.

Behind the pseudo-intellectual curtain of Philippe’s pseudo-documentary, you will not find a wizard. You will find nothing at all.

Skincare is the perfect vehicle for Banks’s style, the cinematic equivalent of a Barbie-mobile with 60s Cadillac fins. The audience gets to ride shotgun as she speeds through the flashy, splashy visuals to get to the long tunnels of persecution.