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This is a Resident Evil movie that understands the terror of opening a door, the absurdity of fighting monsters, and the strange pleasure of watching
September 16, 2026
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This is a Resident Evil movie that understands the terror of opening a door, the absurdity of fighting monsters, and the strange pleasure of watching
Neagley is violent, funny, surprisingly tender, and propelled by a star who makes Frances Neagley feel like much more than a supporting character waiting for
Criterion is giving Lanzmann’s monumental documentary another Blu-ray release, accompanied by All I Had Was Nothingness, a new ninety-four-minute film from Guillaume Ribot that takes
Still, is it worth buying? Absolutely. For years, The Whole Bloody Affair was something American fans mostly encountered through rumors, bootlegs, whispered stories, and the
Because maybe that’s the real story of Coyote vs. Acme. It isn’t about a coyote who can’t catch a bird. It’s about a guy who
Rather than attempting to summarize an impossible life, writer-director Matt Johnson (Nirvanna: The Band The show The Movie) wisely narrows the lens. Tony spends roughly
Perhaps that’s the most telling image in the entire film. The Marvel Cinematic Universe doesn’t need another crossover. It doesn’t need another nostalgic cameo or
Rewatching Eyes Wide Shut every December has quietly become one of my favorite holiday traditions. While everyone else is revisiting snowmen, reindeer, and miracle workers,
Perhaps that’s why Dr. Strangelove remains so exhilarating. It trusts its audience to recognize absurdity without underlining every joke in fluorescent ink. It understands that
If cinema is occasionally capable of approximating fine art, then Barry Lyndon remains one of its clearest arguments. It is hypnotic, heartbreaking, frequently funny in
Whatever the reason, What’s the Story, Wishbone? functions as both a celebration and a time machine. It reminds us of afternoons spent sprawled on living-room
Those ideas may sound quaint in 2026, which is precisely why they feel revolutionary. We live in an age addicted to cynicism. Catastrophe has become
When the credits rolled, I felt the same exhilaration I used to feel leaving action movies as a teenager. I was slightly exhausted, mildly deaf,
Watching Is God Is feels like being promised a handmade meal by a celebrated chef and instead receiving an expired Lunchable thrown directly at your
By the end, Lee Cronin’s The Mummy doesn’t just revive an old monster, it drags the entire Universal Monsters catalogue into a dark alley, kicks
By the end, you may not have answers. You will, however, have a lingering sense that art, like friendship and like love, is a living
The Drama is, in the end, a kind of Trojan horse. It’s a love story that smuggles in a far more disquieting question about who
There is a particular pleasure that’s rare, and almost illicit, in watching something survive its own century and come back looking better than you remembered
In the end, Project Hail Mary doesn’t quite stick the landing, though it tries valiantly. Several times. What it delivers instead is something gentler. It’s
28 Years Later: Bone Temple is a rare thing. It’s a horror sequel that expands its universe, deepens its ideas, and still finds time to
Mike P. Nelson has done the seemingly impossible. He’s turned Silent Night, Deadly Night into a holiday movie you might actually look forward to watching.
Another astonishing element is what makes Marty Supreme not just a Safdie panic-odyssey but an emotionally resonant one. It’s how earnestly it adopts the bones
Which brings us to No Other Choice, Park Chan-wook’s newest, slyest, and perhaps most strangely tender film. It’s an adaptation of Donald Westlake’s The Ax
The film is a riotous, goo-splattered melody. It’s the kind of gonzo moviemaking we’ve been thirsting for since we first saw the original 1984 film
Eddington in 4K is, in a word, essential. The video and audio are stellar, the bonus feature is pure gold, and the physical release even
Let’s be clear from the start. This is not Wayward Pines. No Shyamalan twists. No forest conspiracy cults. Instead, Wayward feels like what would happen
Watching Sirāt feels like being pulled into two films at once. On one level, it’s a merciless survival thriller, echoing the kinetic intensity of Mad
They don’t make films like Dolly anymore, or rather, they don’t usually let them out of the editing bay, fearing no one will sit through
In the end, Coyotes is a silly, shapeless howl of a movie that needed either Liam Neeson with a hunting knife or a wisecracking Road
Every so often, a documentary arrives that is less a film than a warm hug from an unexpected direction. A hug that smells faintly of
