Rocco T. Thompson

Hugh Jackman’s take on a fabled friend of the poor may empty his veins, but the film might have meant more had he spilled his guts.

Backrooms is undeniable, both as a future load-bearing pillar of the internet-born horror movement that’s now breaking ground and for being built on a concept that feels truly new.

Damian McCarthy threads the needle between supplying old-school scares and a richly layered character piece that also functions as a meditation on his own perspective as a storyteller.

The film is a boldly theatrical pop exorcism where the wounds of the past serve as a gateway to forces that can consume or lift the possessed to ecstatic new levels of self-expression.

Kristoffer Borgli delights in creating a hypothetical trap for his lovers, but he also acknowledges that there’s something romantic about being stuck in it together.

Like a particularly impressive aspic, Wuthering Heights is tantalizing to behold but not so easy to swallow.

The Bone Temple doesn’t pack the moment-to-moment kineticism of the prior films.

If only the filmmakers had put the same care and thought into their human characters, then Primate might have been worth going apeshit over.

The Plague is vividly, terrifying attuned to the way children create a social order that resists sensible adult intrusion and influence.

The film’s brand of feminism is as skin-deep as the narrative.