William Bibbiani

It’s not that The Long Walk has made walking terrifying — although certainly it’s a fraught and frightening walk. It’s that it makes every trudge through every day remind us of torture.

The real show here is Herzog and Gorbachev, two of the most interesting people in the world, getting to know each other, asking the big questions, fumbling through small talk, and becoming friends.

It’s a little happy, a little sad, a little off-putting, a lot like going home again. And it’s always interesting.

It’s a straightforward celebration of these heroes’ lives, with a few meaningful revelations along the way, but nothing that will completely blow your mind. These are interesting, likable people who led interesting, exciting lives.

It’s all about radical acceptance but can only talk about the real-world application of its message in general metaphors, so people who don’t actually accept 'weird,' 'different' kids won’t have to think about how wrong they are.

Frankly, big chunks of Master Z: The Legacy of Ip Man are so broad they’re almost goofy. The fights make up for it, and the great ensemble makes this broad world semi-believable. It’s a step down for the “Ip Man” series, but it’s still within punching distance, so don’t take your eyes off it. It’ll get you.

Takashi Miike’s blood-splattered and emotionally ripping Blade of the Immortal is a terrific samurai thriller.

A welcome new patch in the sprawling 'Bridget Jones' tapestry. It’s got all the humor and romance we’ve come to enjoy and all the caring and maturity we’ve come to depend on.

A sweet, immersive glimpse at two of our futures, and it’s clear-eyed about which aspects of those worlds we want to avoid, and which ones we have to pursue.

It’s a film about a bleak and cruel universe that is unkind to victims and eager to ignore reasonable pleas, a world that has a conscious and subconscious vendetta against women in general. It’s also a film that thinks it’s entirely possible to destroy that world, as terrifying as it is, and ultimately, it’s the movie’s principled strength that endures.

However depressing 'Rosemead' is, and it’s depressing in all italics, it’s just not deep enough to make running this gauntlet worthwhile.

It’s a great sports movie about the urge to be great at sports, and it’s one of the smartest movies the genre has produced in a long time.

There’s no extraneous storytelling here, no scene that feels unnecessary, no scary moment that plays like it’s pandering. This is the expertly told, horrifying story of an abusive relationship filtered through the lens of a classic horror movie monster.

Luca Guadagnino’s Suspiria is an interesting intellectual exercise, too ambitious to be ignored yet too overbearing to be enjoyed. Despite moments of genuine terror the film is less interesting in being scary than it is in humanizing what scares us, but once we know more about the witches in Suspiria, the less intriguing they are.

Prey is a glorious monster flick, a sly revisionist Western and a really cool “Predator” sequel for viewers who don’t mind a little fan service here and there.

It’s a diabolically odd horror comedy that keeps the giggles at a steady simmer until, eventually, they’re just right.

This journey is more than just worthwhile. It’s powerful and it’s a joy.

Look, do you want to see a man made out of chainsaws or not?

Exit 8 isn’t just one of the best video game adaptations. It might actually be the best so far.

As cozy farm animal detective stories go, it simply can’t be bleat.

This is wickedly exciting filmmaking. The rare, flashy studio blockbuster that doesn’t read like a laundry list of creative compromises, where the money went to telling a story about fascinating characters and putting them in impossible, gorgeous, and horrifically violent situations.

Despite the fundamental problems with any 'Watchmen' adaptation, and the serviceable but not entirely effective visual aesthetic, 'Chapter 1' does a respectable job of retelling this story.

Molly’s Game doesn’t announce Aaron Sorkin as the next great filmmaker, but he’s a good one. It’s a competently filmed production with some fine performances, but it lacks the focus and showpersonship that would be necessary to make it feel like more.

The Gates' is constantly on the verge of getting better, sometimes on the verge of getting good, but it never quite gets there. It’s a missed opportunity for thrills, social commentary, humor and/or horror.

I’ve been to whole film festivals with less cinema than Steve McQueen packs into just two hours.

With its passionate contributors and lofty ideas, Memory: The Origins of Alien demonstrates that, if nothing else, the study of a film can be as exciting as the film itself.

The whole thing is freaky and funny as hell.

A superficial illustration of the artist’s allure, interspersed with endless, increasingly comical shots of people watching him perform and smiling beatifically.