Matthew Jackson

This is a film caught between big ideas and ambiguous horror, character study and visual showcase. It wants to be mysterious, but it also wants to lay out some lore for the Backrooms' biggest audience yet. And despite its bright spots, it ends up caught in the middle.

Hokum is the latest fruit of McCarthy’s chameleonic gifts, and his best film yet.

DaCosta arrives in the world of 28 Years Later with confidence, swagger, and infectious energy, delivering 28 Years Later: The Bone Temple — one of the best horror sequels in recent memory, and a must-see horror film for 2026.

Vanderbilt’s film slowly, confidently morphs into something beyond a cautionary tale and more like a klaxon blaring through the cinema.

It's another triumph from a singular voice in cinema, and another Lanthimos movie you sort of never see coming.

With Deathstalker, Kostanski attempts to bring his loose, gleeful style to the sword and sorcery genre, and mostly succeeds, giving us another midnight movie essential.

The greatest success of The Baltimorons, aside from how effortlessly funny it is, lies in its focused thematic weight, wrapped up in its setting.

It's not a terrible film, to be sure. At times it's even deeply entertaining, because Coen and Cooke clearly still have a certain sense of magic and charm in everything they do. But this dark crime comedy starring Margaret Qualley as a determined private eye is still lacking in a sense of real direction.

The movie stars are present, the film looks slick and shiny, and the adventure doesn’t ever let up, but something about it ultimately rings hollow, and by the second hour, you’re left wondering what the point of all of this is, at least until the characters outright explain it to you without any real emotional payoff.

There’s a lot of talent on the screen, some catchy music, and some wonderful visuals and design choices, but none of it ever quite adds up to something bigger, leaving us with a film that’s ambitious but strangely hollow.