Justin Clark

Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.

BenDavid Grabinski’s film is less of a crime drama than a punch-drunk comedy of errors.

The Bride!’s aims to show that being good in a cruel world is as foolish as falling in love—as foolish as attempting to be out and proud freaks in a repressive society. Guillermo del Toro might be brave enough to let his monsters fight and fuck in their own defense, but Gyllenhaal and her monsters do it nastier, sloppier, and louder as an act of magnificent defiance.

Good Luck, Have Fun, Don’t Die’s obviousness only makes its proximity to the real-life A.I. slop invasion more unnerving, and the extent of what humanity has accepted for convenience’s sake more abhorrent.

Christophe Gans’s film does away with all the psychosexual nuance of Silent Hill 2.

Ryan Prows’s film comes across as just straight-up exploitative.

The beauty of Kristen Stewart’s focus is how she excavates the profound from the mundane.

The film is very old-fashioned in its thinking and approach to fantastical romance, despite some occasional, vague allusions to the fact that it is, still, a 2025 film.

Sylvain Chomet provides only a scant sense of Marcel Pagnol’s creative inklings, such as the ideas and themes that fuel the films that he fights so vehemently to make.

Arco is a children’s adventure set in world that’s literally on fire, which makes the moments of childlike wonder and connection all the more endearing and vital.