Sean O'Neal

Like The Amazing Johnathan’s act, it’s a funny, trippy, lively bit of sleight of hand that can often make you feel like you’re seeing something extraordinary, even if it’s just some prankster f**king with you.

Its very existence is a testament to lowered expectations. That said, it seems like a real missed opportunity for Broken Lizard, which has only seen diminishing returns since the original.

It’s a subject that should appeal to anyone who doesn’t wield the words “the media” as an insult.

Where Score proves its value to those fans is when it simply allows them to watch these composers at work.

Miracle Mile is uniquely weird, and one imagines that audiences who caught it in the theater (among the few who did, anyway) walked out feeling shaken by its ending, even in a world where the Doomsday Clock had safely clicked back.

Nuclear war is brutal, ugly, and piss-yourself terrifying, Threads argues. Why should its movie depiction be anything different?

For all the liberties it takes with what the computers of that era could really do, Electric Dreams offers a portrait of our relationship to technology that’s fairly prescient—while still being silly in that early-’80s Radio Shack kind of way, of course.

A film becomes a comfort-food favorite because it moves along briskly, has a few solid gags, and maintains a distinct yet uniformly agreeable tone throughout. And the more memorably high-concept its plot, the better. Real Men falls squarely within this category.

This sixth film in the series just completely ignores the self-aware spoofing of the most recent installments, instead returning to the back-to-basics horrors of a possessed doll who’s out to murder a family—one that could just kick it in the face at any time, because it’s a doll.