William Bibbiani

The Dreadful is worth watching for Harden’s perfidious performance alone. And whenever she’s not on-screen it’s worth the wait.

It’s not that 'Scream 7' is a bad 'Scream' movie. There are no bad 'Scream' movies (yet). Even the worst one is kind of alright, and this is the worst one.

The Bluff isn’t a bad pirate movie. If anything, it has so little competition these days that it’s probably 'the best pirate movie in years' by default. But that’s damning the film with faint praise, or possibly praising it with faint damnation.

Sadly, Psycho Killer wasn’t made with style in mind. Actually, it doesn’t seem to have anything on its mind."

That Crime 101 comes close to greatness and never quite gets there is not a crime. Even if it was, it’d be a misdemeanor.

Say what you will about the premise, but if you think that’s all there is to 'Goat,' you’re going to bleat those words.

Kinky as hell and also extremely romantic. That’s not a combo a lot of movies go for nowadays, let alone pull off this beautifully, and that makes Pillion something of a miracle.

Even though 'Whistle' offers nothing new to the supernatural death curse genre, it’s directed by Corin Hardy, and Corin Hardy likes to go hog wild.

They just tried to do the same schtick, but longer and worse, and let’s face it, 'longer and worse' is only the goal if you’re trying to torture somebody.

It’s just shameless promotion for a book about relationship advice, released on a streaming service that also sells happens to sell the book. It even features lines like, 'This story hit so hard I Amazoned a copy of ‘Relationship Goals’ right away.

Melania is the feature film version of that wedding video in Love Actually, the one where the best man spent the whole event obsessively filming the bride ... Ratner made a film that makes Ratner look more invested in Melania Trump than her husband, which is a really weird vibe to shoot for.

Jason Statham knows how to Jason Statham, and as usual, he Jason Stathams Jason Stathamly.

The pros don’t come from trustworthy sources and the cons require a lot more elaboration.

Nia DaCosta’s smart, freaky sequel zooms in on the ongoing battle between sense and senselessness until it finds strong, connective tissue between science and religion.

Roberts wraps his audience around his finger and then points us in the direction of gruesome, darkly humorous devilry.

These Greenland films may not always have a coherent point, but when they focus on the nuts and bolts of survival and the toll that surviving takes on these characters, they’re efficient, effectively crafted genre pictures.

It’s easy to appreciate the ambition of Gaines’ new take on Dutchman, but the original tale is fighting back, and it’s got the upper hand.

I’d say if The Plague wasn’t nominated for Best Original Score there’s something terribly wrong with the Oscars, but The Plague didn’t even make the short list, so there’s just something terribly wrong with the Oscars.

Life is too damn hard to get so damn mad about a sweet, mostly effective drama like Song Sung Blue.

This new Anaconda is so busy talking about how silly it is to make a new Anaconda that it never actually makes a good 'Anaconda.

Glorious, angry, hilarious, nail-biting fun from a director, writer and cast who all know exactly what they’re doing, and relish in the fact that they’re practically getting away with murder.

The only way ‘Avatar: Fire and Ash’ could be more hypocritical, and taken less seriously, is if the characters also yelled “Hypocrisy sucks!” while sitting on Whoopee cushions.

Not Without Hope never completely comes together but when it works, it’s absorbing disaster filmmaking."

Skarsgård is a captivating chaos gremlin, and Montgomery is — in an easily overlooked, but absolutely vital role — an exceptional foil.

A sadistic delight, just like its predecessor.

Goodbye June is just hyperemotional tourism. We’re lookie-loos popping our heads in for the saddest moment in this family’s lives. We don’t even get to know them very well.

Scarlet' might be [Mamoru Hosoda]'s most narratively ambitious work to date, adapting and warping one of the most famous tales ever told, adding new layers of complexity, and centuries of new, invaluable context.

Ella McCay' is a film about American politics in the same way that Pixar’s 'Cars' is a movie about cars. As in yes, these are definitely films about politics and cars. But no, politics and cars don't work like that.