It’s a pastiche of all the good anthologies we had back in the day, such as Tales From The Crypt, Creep Show, and more. It’s a perfect Halloween watch.

Sirocco’s world resembles a phantasmagoric dream by Antoni Gaudí.

This is bold, relentless, and unexpectedly moving, it’s a standout entry in the wasteland canon and a thrilling reminder that even in ruin, there’s still something left to fight for.

It's brainy and brilliant, but despite amorous overtones and a few good action set pieces, it just doesn't generate the thrills or romance that would have made it a true classic.

Do You Trust This Computer is informative at the least. Everyone and everything comes off as credible, and the philosophy comes off as plausible. It effectively plants the seeds of paranoia.

The movie unfolds with an anxious pace and a consistent building of actions and circumstances.

A brutal mystery that's more beautifully poetic than the previous entries but still just as captivating. From opening to closing credits, every image is photographed as if it were a painting; even those involving ferocious violence are wonderful to look at.

Foul-mouthed, unapologetic, visceral, and authentic, Firecrackers also happens to be sharply edited, its narrative complemented by Casey MQ’s gorgeous electronic ambient/drone score.

An entertaining, clever look at the backstabbing actors do in search of recognition and fame.

Saving Brinton loses focus a few times, but its noble heart will keep the viewer engaged. Zahs is an affable chap, and his love of history is remarkable. His quest to save Brinton’s collection is an enjoyable one that will leave the audience happy and with a deeper affection for the way these films were shown back in the day.

I also think Herzog is making a case for those crazy enough to follow their dreams, even when they take you to the end of the earth. Literally.

It might be a typical Guy Ritchie film and loaded with every cliché in the book, but it’s still fun.

It seems as if all of the new animation competition has lit a fire under Disney's collective ass and they have something to prove again.

Vampires Vs. The Bronx is a great way to introduce your kids or pre-teens to the vampire genre, and a fun look at how Gen Z plans to deal with armies of the undead.

I liked The Tender Bar for its simple story and fantastic performances. But, honestly, it works best as a straight-to-streaming title, as it hits familiar beats and feels small in scope. Clooney has concocted cinematic comfort food.

The intentions of DTF are a little bit of everywhere. It’s sort of about the hollow experience of dating apps, sort of about the lonely life of airline pilots, and sort of about addiction. However, I think its most flattering angle is that it’s about someone slowly realizing his friend is sick—in every meaning of that word—and potentially unsavable.

Rose Plays Julie is an emotionally cathartic thriller.

This is a weird little movie, and it's an interesting trip accompanying Dick Ritchie on his transformation.

Simply a two-hour rave, an acidic, ecstatic trip through the not-too-distant past in a world called Manchester.

Confirms that despite all the technical tools at their disposal, one thing counts head and shoulders above razzle-dazzle eye candy (or anything else, for that matter): the story and characters, and Monsters, Inc. introduces worthy additions to the Pixar pantheon.

An emotional picture that benefits from the extremely powerful performances of its stars.

While it will not win many (if any) awards, The Blackening is hands down the best time that has been offered up in a movie theater since the Dungeons and Dragons movie last March. This horror comedy plays with genre conventions in a sparkling and vividly delightful way.

This documentary is an eye-opener to the future of this ever-shrinking yet growing world.

Blind Ambition has plenty of drama to make a wine tasting engaging for even the most devout tea-totaller.

The Machinist is so brave and visually impressive, it should demand an audience.

With splendid assistance from cinematographer Mohammad Reza Jahanpanah, the filmmaker immerses his viewer into a milieu both relentlessly grim and breathtakingly gorgeous, endlessly vast and claustrophobic, evoking a vibrant halo in the midst of hell.

In a genuinely brave performance, Seth Rogen sheds his frat-boy comic styling and delivers an unflinching portrayal.

At its core, Lots of Kids, A Monkey, and a Castle is an intimate, humorous, and heartfelt love letter to the filmmaker’s mother and her indomitable spirit and will to rise above the inevitable pitfalls of life.