Entertainment
The Mitchells vs. The Machines Review: Hybrid Animation Hilarity
Netflix's The Mitchells vs. The Machines is an animated love letter to being different, set against a world-ending AI uprising.
Netflix's The Mitchells vs. The Machines is an animated love letter to being different, set against a world-ending AI uprising.
Nobody is an action thriller that proves Bob Odenkirk is the obscenity-spewing, balls of steel action star we never knew we needed.
Zack Snyder’s version of Justice League feels like too much of a good thing. He has creative control here, but its execution is this fan devoted emptiness with no real destination in mind. The superhero film is a slow three hour slog to its final fourth hour where all of its best and most entertaining action sequences lie.
Disney's latest film, Raya and the Last Dragon, is rich in tradition and intriguing folklore, but mediocre in its execution.
Rose Glass' Saint Maud delivers a psychologically satisfying and creepy cinematic experience centered on religion and death.
Does Earwig and the Witch, Studio Ghibli's first foray into CGI film making, capture the studio's signature magic?
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From Steven Kostanski, writer and director of Manborg, The Void, and the incredible 5-minute short Bio-Cop, Psycho Goreman (also known as PG: Psycho Goreman) is this joyous blend of absurdly bloody horror, awesome makeup effects, and laugh out loud humor.
Soul is Pixar's latest film, but are the jazz-fueled afterlife escapades of Joe Gardener worth the price of Disney Plus admission?
Freaky, created by Happy Death Day's Christopher Landon and starring Vince Vaughn, presents a horror-themed spin on the Freaky Friday story
Come Play is the toothless wild animal of this year’s horror films. It may be able to lurk around in the dark and reach out in an effort to scare off its prey, but deep down it’s a shadow of its former self.
Despite a young girl disappearing and a main character having cancer, Synchronic has no emotional value whatsoever.
Possessor takes a simple hitman concept and adds a sci-fi body horror twist to it. The film is an unraveling of the mind that vigorously rips its on-screen characters from reality layer by layer.
A family of con artists is barely making ends meet in writer and director Miranda July’s comedy crime drama Kajillionaire.
Random Acts of Violence has some rather creative kills and just the right amount of brutality for a slasher horror film.
Sputnik is a visually remarkable sci-fi horror film that leaves you with a lot of questions and even ends on a sour note.
The Tax Collector feels low budget despite having a moderate amount of money at its disposal. The cast is excruciating and the action is lacking.
Impetigore is a disturbing and unsettling thriller with faceless children, no remorse for neck wounds, and upside torture that will have horror fans squealing with delight.
The Rental has a simple concept with a basic execution and a tendency to wear its inspirations on its sleeve, but it’s also enjoyable for what it is.
Lake of Death feels like this Norwegian version of Dark Water paired with elements of Friday the 13th and every other secluded, out in the middle of nowhere horror film you can think of.
Relic peels away the idea of who we were and replaces it with this soiled, withered, and pathetic version of our former self.
Archive isn’t going to be a film for everyone. A film about isolation right after quarantine and during a pandemic may not sound appealing to the general population, but Archive is such a visually superb experience with subtle humor that keeps you interested and downright shocks in its final moments.
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