Rocco T. Thompson

As a follow-up to his 2022 cult freak-out The Outwaters, writer-director Robbie Banfitch’s Tinsman Road couldn’t be more impressively different.

The film is more interested in the passions that kept Anthony Boudrain's demons at bay than in how those demons ultimately consumed him.

What begins as a nasty delight chronicling a noxious family quickly becomes a meditation on gendered abuse that, while well-intentioned, ends up feeling uncomfortably literal-minded.

Despite being fairly light on its feet, Craig Gillespie’s bratty, high-flying space western is fatiguingly overfamiliar in a genre that can’t help but keep looking backward for inspiration as it clings to relevance.

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.