• Terrifier 2

    Terrifier 2


    Art is back for more comical, sadistic carnage; the gory violence is notched up to some of the gnarliest and most savage to hit the silver screen; and we have another heroine this time that manages to earn the title of the final girl, but the film is paced to hell, especially with one dream sequence that seems to go on forever, and the plot is quite repetitive with its endless succession of drawn-out murder scenes.

  • Elvis



    I do wish it was presented less like a feature length movie trailer and told Elvis’ tragic life story with more nuance and sensitivity, but it does move quite swiftly with such glamor and verve and is elevated by a flawless, star-making turn by Austin Butler.

  • The Banshees of Inisherin

    The Banshees of Inisherin


    Showcasing the beautiful scenery and desolation of its Irish setting while buoyed by a bulletproof cast, The Banshees of Inisherin is unfortunately far less compelling, witty, and funny than McDonagh’s previous efforts and doesn’t have much to offer from an emotional standpoint aside from being feckin’ depressing.

  • Barbarian



    Yeah, characters act unbelievably stupid at times, and certain things don’t make a whole lot of sense, but Barbarian constantly reinvents itself in a way that’s interesting, and it is incredibly refreshing to see a mainstream horror picture this entertaining, suspenseful, unpredictable, and downright creepy amid all the vapid, unoriginal garbage we’re used to.

  • A Nightmare on Elm Street

    A Nightmare on Elm Street


    A seminal and iconic work of horror that Craven clearly borrowed from when he went on to make Scream over a decade later, and although that film may be more enjoyable and inspiring of a cult following, A Nightmare on Elm Street still stands the test of time with its grisly violence, creepy villain, and admirable audacity.

  • Bullet Train

    Bullet Train


    Even if it is carried with great gusto and élan and is entertaining enough to pass the time, Bullet Train is ultimately a shoehorned collection of things we’ve already seen, albeit with cleverly staged fight sequences and Brad Pitt as The Dude but if he were an assassin, while riding on a plot that drags things on past the point where I stopped caring about what was happening.

  • Terrifier



    Art is perhaps the funniest and scariest killer clown there will ever be, but it seems Leone doesn’t understand that no amount of gore can make up for the absurdities of the film’s plot and lack of substance. If it weren’t for all the hype surrounding Terrifier 2, I wouldn’t have wasted my time with this boring, mindless, schlocky B-movie torture porn.

  • Nope



    Peele is firing on all cylinders in the technical department, and like Us, this film is harder to digest and more thought-provoking than Get Out, even though that remains his most accomplished work—with a wholly satisfying and riveting final act. And although Nope may be his most ambitious feat yet, it is far from the Spielbergian spectacle it aims to be, and his sensibilities here lean heavily toward both homage and innovation while still missing a meaty core, as his narrative…

  • All Hallows' Eve

    All Hallows' Eve


    Despite its distractingly amateurish execution and scattershot pacing that drags the film on for longer than necessary, Damien Leone shows promise behind the camera, and Art the Clown is as deliciously sadistic, charming, and demonic as you could hope for a killer clown to be—most certainly a horror icon in the making.

  • Crimes of the Future

    Crimes of the Future


    The master of body horror himself returns to his roots with a socio-political vengeance, but despite a sturdy commitment to maintaining its strange tone and an atmosphere as hypnotic and mysterious as it is grimy and off-putting, the undercooked premise and uninspiring plot devoid of tension and exposition make this a Cronenbore.

  • Halloween



    Rob Zombie may be a mostly competent director but proves he’s a far worse writer, with a brainless, infantile script that seems to care more about gore, sex, and violence than on the careful construction of tension that made the original so effective.

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    The only entertaining part of this insufferably convoluted, ridiculous, corny, and self-indulgent mess besides the welcome return of 80s icon Ke Huy Quan are most of its fight scenes, particularly one very silly one that involves make-shift butt plugs—which also reminds me how far up its own ass this film is.