The Killer may be based on a graphic novel by Alexis “Matz” Nolent, but it feels like Fincher's most personal film to date.

With beautiful cinematography and quiet, contemplative performances, there’s no denying how captivating The Delinquents is at the outset. But as the film progresses, it seems to lose sight of itself. Even with a runtime that exceeds three hours, the ideas and characters explored in The Delinquents are incomplete.

In the end, Killers of the Flower Moon is like a puzzle—each creative piece does its part to form the complete picture.

The quiet soulfulness of Buckley, Ahmed, and White makes for a banquet of slow cinema, one that haunts more than shocks in its parsing of love, lust, and longing.

Simply as a technical spectacle, Taylor Swift: The Eras Tour is a dazzling achievement, capturing the sensation of seeing the pop goddess’ sold-out concerts in all their enormity and intimacy.

The film is fun to watch and occasionally illuminating, but is over-packed and barely touches on the problems of scammers, the murky world of “influencers,” copycats who engage in dangerous or harmful behavior, or the infinite regression of people filming their reactions or their friends’ or children’s reactions to what they are watching.

For its near-miss moments, the inside-out approach of The Mission results in a richer film than one might have expected from reading the summary on a streaming menu.

While the settings may indeed be beautiful, every frame here has been location-scouted and dressed to a fare-thee-well that sucks all the life out of every image—the viewer might also rest easy at the near-certain prospect that The Unfortunate Events will be conveyed as antiseptically and tastefully as possible.

Clocking in at 51 minutes, the film is all mood, all rhythm, with a kaleidoscope structure and undulating ever-shifting visuals in a constant state of flux. It's not a "story" so much as a tone-poem collage about technology, knowledge, innocence/experience, and the potential end of the world.

Here is a cornucopia of aesthetics, not for all but definitely for some, that will remind you that not every type of film has been made yet.

Dear David is branded content—uninspired and hollow to a fault—and perhaps that’s even more disturbing than a five-year-old internet ghost story.

Dark Harvest misses many beats necessary for a fully realized narrative. And yet the concept and its action-driven execution make a fun watch with some laughs of incredulity.

Through interviews with women on all sides of the issue, “Plan C” paints a well-rounded picture of their operations but struggles with where to direct its focus.

Instead of gradually winning over the viewer, The Mill tests your patience. And instead of achieving a poignant fury, the film's inspiration runs out of energy, long before Howery’s Joe decides that enough is enough.

If anything, the horror element of this horror movie is the weakest part, but Totally Killer is spry enough to remain enjoyable throughout.

The film captures a little bit of the flame of the original, particularly when it allows itself to be funny. It works really well as a comedy, almost of "manners," although manners aren't really in sight.

Every scene, effective but long in the tooth, is built on the entertainment value of these oddball figures, sorta like “Tiger King” but less gross and exploitative.

I Am a Noise, beginning with Baez actually consulting a voice coach as she prepares for what will be a “farewell tour” (it was undertaken in 2019 before COVID hit the world), is a coherent, cohesive, and sometimes jarringly frank portrait.

Mister Organ gives good reason to think that Farrier has never encountered such a narcissist before, which makes this film significant as a ruthless cautionary portrait, however much it may be a visceral flashback for others. If you know anyone with Michael's aura, if someone makes you feel like this unforgettable movie does, this is your sign to run.

She Came to Me is beautifully performed and directed with great charm, unexpected wisdom, and sweetness.

Whatever promise the “V/H/S” horror anthology franchise started with is barely present in V/H/S/85, a low-energy potboiler that promises to transport genre fans back to the analog past for some reason.

Somehow, the film’s 1674 is more convincing than its 1969, and the ideas being worked out in that brief segment are more compelling than the ones that make up the core narrative. But then it’s buried, and it doesn’t come back. Pity, that’s one time when resurrection would have been helpful.

This is a deceptively brilliant piece of work, a reminder of the refined, undeniable abilities of its creator.

The Exorcist: Believer is a pretty good movie that's so stuffed with characters and not-quite-developed ideas that you may come away from it thinking about what it could have been instead.

Foe stumbles rather spectacularly by leaning more on melodrama than logic and choosing cliche over originality. Aside from rehashing tropes and offering some laughably bad moments, the film accomplishes little.

Unlike Hannah, this movie has a great relationship with its appendage—it knows when to use it for gross-out body horror humor or a bit of drama that cuts to the core.

There are some disappointing choices in the film's directing, but Castillo's performance should make a lot of those easy to overlook for anyone who stumbles upon this one in their streaming algorithm.

Saw X returns John Kramer to the root of his mission, showing people the error of their ways and asking them what it truly means to be alive. A few severed limbs along the way are just a bonus.