SCREAM to SCREAM 4: Dead Ends
SCREAM resurrected the American horror industry after more than a decade of slim pickings, before it, too, fell victim to industry excess.
SCREAM resurrected the American horror industry after more than a decade of slim pickings, before it, too, fell victim to industry excess.
Our deep dive into the movies that killed horror megafranchises continues with the messy, misguided SAW: THE FINAL CHAPTER.
ALIEN is one of the greatest horror franchises in history. Let’s take an in-depth look at the movie that killed it for a generation.
Warner Bros. a guy with no directorial experience a shot at helming blockbuster film THE FLASH, because I guess everyone else was busy?
MAZE RUNNER: THE SCORCH TRIALS ditches the mystery of the original film in favor of bombastic dystopian action. It’s not great.
I BELIEVE IN UNICORNS is a dreamy coming-of-age tale that pairs sensitive writing with gorgeous cinematography to make something sweet.
DIGGING FOR FIRE has a stellar cast, but an undercooked premise and some sloppy storytelling choices prevents it from coming together.
Action scenes are getting longer, and most of them aren’t better for it. Thankfully, Takashi Miike’s 13 ASSASSINS shows you how to do it right.
THE GIFT is an almost-great thriller from actor/director Joel Edgerton that is sadly undone by its desire to shock audiences.
THE THIRD MAN, Carol Reed’s classic noir, remains one of the greatest films ever made – and, thanks to its new restoration, it looks great too.
FELT is an odd and uncomfortable movie about the intersection between the power fantasy of superheroics and the security of survivors.
Crystal Moselle’s THE WOLFPACK is a truly remarkable story, and her documentary about the Angulo clan is empathetic and fascinating.
Asghar Farhadi’s breakout film is finally getting an American release after the critical acclaim of A SEPARATION. How does it hold up?
EVERY SECRET THING has a remarkable writer adapting a great pulp novelist with an excellent cast. Why doesn’t it come together?
WELCOME TO ME gives Kristen Wiig a tough transition to less overtly comedic roles, but she carries it off with style and force.