Randall Colburn

It is impressive, though, the way the movie works to incorporate new online phenomenons, from Bitcoin to swatting. The latter bit, especially, resonates as one of the film’s most unsettling elements, if only because it feels so depressingly possible. Truly, it’s surprising just how soul-crushing Dark Web becomes after luring us in with so many intriguing mysteries, but, hey, this is the internet we’re talking about.

The careful, strategic navigation of silence and noise is the film’s greatest asset, and when it explores this tension, and the way in which it impacts both the characters and monsters, the result is vibrant, urgent, and innovative.

There’s something distinctly odious about a storyteller exploiting both a city’s tragic reality and a country’s debate about firearms to make a film that thrives on violence.

The Ritual is rich, meaty horror that, despite your feelings regarding its twists and turns, offers up a gripping balance of psychological terror and physical revulsion.

It’s weird, intermittently amusing gobbledygook that should help a drowsy weekday night pass a bit quicker. Unfortunately, mediocrity won’t do much for the Cloverfield brand, which set a high bar for itself with 10 Cloverfield Lane.

As it lurches into its second act, Before I Wake begins slavishly following the beats of its studio horror contemporaries, (mostly) abandoning its nuance for rote investigations into the cause of the phenomena and horror set pieces that defy the previously established logic of the dream manifestations.

Robitel and Whannel are still too bound to the franchise here to make something truly original, but The Last Key will make you grip your armrest, squint your eyes, and prepare for the worst. Sometimes, that’s enough.

Bitch‘s third act is an improvement upon its second, mainly in that the movie allows itself to be weird again.

Though Harrelson’s performance is nothing if not memorable, it lacks dynamism. His tone and cadence, though booming, becomes familiar as the film barrels on, and the plasticine nature of his prosthetics is distracting.... It’s a good performance, but not a layered one.

Not all of Killing Gunther lands as well as it should. The humor feels inconsistent at times.

Happy Death Day is a lot of fun when it allows itself to have fun.

It’s not easy, balancing careful character development and a vivid sense of place with the bloodlust of expectations, but Zahler’s done it here.

American Assassin never transcends the exploitation at its core.

Lemon remains wholly original throughout, rendering old themes fresh with its bold perspective. It’s also incredibly funny, even when it’s dunking our heads into the darkness of the human psyche.

Sandberg finds much of his terror in the tension that exists between light and shadow, an unsurprising discovery considering his previous film hinged on the two. They’re used much more effectively here, however.

In building worlds as detailed and vivid as he’s done here, Besson has essentially allowed the setting to do what’s typically reserved for characters and stakes, and that’s to make us care.

Shimmer Lake’s climax does a fine job of bringing together its disparate parts for a resolution that’s surprising, effective, and logical.

It Comes at Night isn’t scary so much as it’s horrific, though Shults is extremely gifted at cultivating the kind of slow, droning dread that inflates in your chest like a black balloon.

Berlin Syndrome isn’t a sensational film; the emotions on display are warped and scarred, but rooted in identifiable desires. In some ways, this makes their impact that much more ingrained.

Rings is too beholden with current trends to truly exploit the potential it displays in its early going.

Any sense of mystery or suspense quickly dissipates as the film returns again and again to repetitive and terse exchanges between Claire and Allison, whose revelations aren’t as surprising as they’re probably intended to be.

In this instance, the medium just doesn’t elevate the material. That said, Fences is still a gripping watch, but it’s gripping for the reasons the play has always been gripping: the language and performances.

What saves this head-scratching, relentlessly portentous movie is what also saves the games: the action is on point.

Miss Sloane is a smart, thorough film about a rare subject that is also as breathless, broad, and crowd-pleasing as your standard Grisham thriller.

The Monster is worth watching for Kazan and Ballentine.

It’s a movie about bravery and the power of inspiration, be it divine or corporeal, in moments of hopelessness. Desmond’s faith is placed front and center, and the way it operates here celebrates not the object of that faith, but the power it has to motivate both Desmond and his squad.

What’s clear in Perkins’ second feature is that he’s clearly become aware that his talents as a visual storyteller outweigh his skill with narrative. He’s leaning into that, and while it might make for a more “difficult” film, it’s ultimately a more satisfying one.

TrumpLand is a valuable film for the open-minded, undecided voter, or those who can’t seem to reconcile their seeming dislike for Clinton with a vote for her; an extended rant on likability in politics is especially effective.