by Esther Rosenfield
YouTube wunderkind Kane Parsons delivers impressive world-building in his liminal space horror debut.
Gore Verbinski’s return to big budget filmmaking is a disappointing slog that wouldn’t even pass muster as a bottom tier Black Mirror episode.
Christophe Gans returns to Konami’s foggy nightmare town with mostly productive results.
by Juan Barquín, Mark Asch, Esther Rosenfield, Hannah Strong, Daniel Schindel, Jake Cole
We examine how the UK’s tragic demise at the hands of the rage virus might have impacted the wider world.
David F Sandberg’s tangentially related adaptation of Supermassive Games’ horror hit forgets what made its video game source material so great.
Jia Zhangke’s first feature in six years is a sweeping epic anchored by the captivating Zhao Tao, his muse and most frequent collaborator.
Throughout his career – though perhaps nowhere so much as in Inland Empire – David Lynch carved out a space for powerful depictions of women in crisis.
Jane Schoenbrun’s sophomore feature is an unnerving take on loneliness, isolation, and the enduring mysteries of children’s media.
Margaret Qualley and Geraldine Viswanathan star in a delightfully daffy road movie, written by Ethan Coen and his wife Tricia Cooke.
The manga that brought basketball to Japan gets a new adaptation which thrillingly embodies the sport’s high-flying action.
Idris Elba is a father menaced by a killer lion in this capable but slight thriller.
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