Graeme Guttmann

The film really strives to examine the psychology of its characters in a way that it isn't fully equipped to do. Even when it falters, though, Backrooms is still an effective horror film, dealing in quiet terror over abject horror. In a world where fear is constantly thrown in our faces, having to look for it, and wanting to do so in the first place, can be just as disturbing.

Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.

That's what makes Forbidden Fruits feel both timely and timeless. We rarely leave the inside of the mall, giving the film a claustrophobic feel. The girls use cell phones – it'd be strange if they didn't – but any recognizable social media are absent. It feels like a distinctly modern take on female friendship, but one that owes a great deal to the films that have come before it. And it's lost the sort of optimism that those films often came with.

Unfortunately, Reminders of Him isn't a very good film, at least in the traditional sense. But, like Regretting You, there's a certain level of lizard brain enjoyment that transcends much of the film's flaws and allows for all the soapy, melodramatic elements to be enjoyed at their own level.

Thankfully, Boon, Graham, and Riseborough do enough to anchor the film and bring it home as it lands on a strangely poignant note both chilling and endearing.

A piercing, explicit, and oftentimes sexy study of one 25-year-old's search for identity in a world that has discouraged him from accepting all of himself unabashedly.

With Holland and Mara, the commitment to The Dutchman is apparent and though its ending feels as if things are wrapped up a bit too cleanly, the film succeeds in being an unnerving odyssey over one New York night.

Even as it veers into darker thematic territory, Feig's light touch and Seyfried's committed performance add an air of deranged enjoyment that make The Housemaid one of the most fun movies of 2025.

Serious People doesn't deal in cynicism. Its quiet ending wraps things up too tidily, but there's a strange sort of optimism to its idiocy that is quite endearing.

Black Phone 2 is still a solid horror film, with gory kills and exciting set pieces. But the question of why still lingers over the film, even as it delivers on its many promises.