Thom Ernst

Leviticus announces Adrian Chiarella as a filmmaker of remarkable confidence and control. It's a horror film that trusts its audience, trusts its characters, and trusts the power of what remains unseen. In doing so, it becomes one of the year's most unsettling — and impressive — genre debuts.

Affection remains intriguing throughout, and often admirable in its ambition, but it never quite trusts the very themes that make it worth caring about in the first place.

By the end, Obsession proves itself far smarter, crueler, and more emotionally devastating than its straightforward title initially suggests.

From the first act straight through to the third, the film engages on a level far higher than it needs to. Which is what happens when you put real craft behind a premise that could have coasted on novelty.

If Hokum proves anything, it’s that McCarthy isn’t just part of this new wave of horror filmmakers—he’s carving out his own narrow corridor within it. A place where folklore, psychology, and just enough chemical suggestion collide.

Cronin doesn’t just show you something disturbing—he insists you sit with it until it becomes personal.

There’s a particular confidence to Undertone that doesn’t announce itself with spectacle, but with restraint. It’s the confidence of a film that knows exactly how little it needs to show you in order to get under your skin.

It’s messy. It’s excessive. It overstays its welcome. But like any good dysfunctional family gathering, you don’t leave early.

There is no question that Gyllenhaal packs her film with so many ideas that it can become dizzying. The themes sometimes pile up, the tonal shifts arrive quickly, and the story occasionally feels less like it’s unfolding than tangling itself into elaborate knots. Some viewers will likely bail when the plot begins tripping over its own ambitions. But the film also has an undeniable boldness. A willingness to be strange. To be excessive. To be gloriously weird.

EPiC: Elvis Presley in Concert doesn’t ask you to worship Elvis so much as to remember what it felt like when the man took control of a room and decided—joyfully, deliberately—to make it move with him.