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.

The movie has its own unique life force, and such confidence that if you're tuned into its wavelength, you'll forget to speculate on what will happen next.

Rich in atmosphere but short on substance, director and co-writer Gareth Edwards’ film has the look and tone of a serious, original work of art, but it ends up feeling empty as it recycles images and ideas from many influential predecessors.

Story Ave is a portrait of an artist as a young man, a not-quite-coming-of-age tale, a narrative of escape but not abandonment. The outlines of the movie’s story are familiar, but Torres has resourcefulness, energy, and imagination to burn in how he tells it.

There are some nice lessons about confidence and teamwork, a more-funny-than-scary villain, and impressive guest stars voicing minor characters, including Kristen Bell, James Marsden, Lil Rel Howery, and Kim Kardashian (as a pampered poodle social media star) and her children.

While the killer with a heart of gold trope works to varying degrees, mostly because of Manganiello’s unvarnished presence, the thematic heft of The Kill Room is enough to make it an intriguing and entertaining early work.

Muzzle is filled with intriguing aspects not explored meaningfully. There are so many different threads, themes, and plots, even Scotch-taped together in the hopes it will come together. It doesn't.

Rhys Darby is perfectly cast as the wholesome, dopey time traveler in Relax, I’m From the Future, a sci-fi comedy with a modest sense of humor but tangled message to share with humankind.

The film might have benefited from a lengthier treatment and more exploration of all the themes at work. As it is, "Barber" is a fairly rote crime drama but a fascinating glimpse of a world in transition.

While “Creation of the Gods I” is not yet a personal, let alone essential, series, you can see glimpses of the epic that director Wuershan has arguably been working his way up to since “The Butcher, the Chef, and the Swordsman,” his wildly uneven, but occasionally disarming 2010 breakthrough.

Although it attempts to tackle the heavy theme of generational trauma, it too often forgoes the more insightful aspects of its family drama in favor of an overly trite twilight romance.

The Storms of Jeremy Thomas, about the career of one of the most important film producers of the last 50 years, is one of Cousins' best and most entrancing films.

This family isn’t picture perfect, but the way De Filippis tells their story is pretty flawless.

The web spun by The Origin of Evil arguably features one twist too many, but the viewer is in for more than a pound by the time it happens. Largely thanks to Calamy’s rock-solid performance.

What follows is a movie that wants to be a teen movie and an allegory for the immigrant experience but never wholly coheres.

There are many points where Expend4bles feels less like a legitimate continuation to a franchise that has been quite profitable to many involved and more like a cheapo television pilot that was mercifully scuttled before it could air.

It’s more of the same, without any discernible improvement in quality, despite the massive technological leaps over the past two decades.

The opening moments of the first act are rendered as the film’s best, as No One Will Save You continues to fall apart due to a frustrating lack of narrative context.

The best parts of Morgan Neville & Jeff Malmberg’s The Saint of Second Chances are like hearing stories from a good friend over beers after a game.