Rocco T. Thompson

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.

Just as Stanley Kramer’s Judgement at Nuremberg explored the Nuremberg trials against the backdrop of the emerging Cold War, James Vanderbilt’s film holds the trials up as a mirror to our current era of authoritarianism.

Chris Stuckmann’s utilitarian approach is doubly frustrating considering that Shelby Oaks does, at least in the early going, point toward potentially having something to say about the vlogger space, internet infamy, and the way tragedy takes on a cultural virality.