Rocco T. Thompson

It builds its what-ifs from a foundation of fact to better support its more poetic strains as it reaches its heart-swelling climax.

Anna Biller's first film since 2016's 'The Love Witch' again sees the filmmaker exalting pastiche to the level of high art.

Closer to a grotesquerie, Lance Oppenheim's film foists us into a nightmarish carnival of irresponsibility.

Giuliano stages his feature directorial debut with a formal elegance and contemplative tone that lifts it beyond its familiar genre tropes.

The film strikes a nice balance between delivering nail-biting thrills and taking a bite out of white meddling in the Global South.

The film trades the demented, Lovecraftian madness of 'The Outwaters' for an understated, all-consuming melancholy.

Matt Johnson's 'Tony' is, unlike 'A Complete Unknown' and 'Michael,' a refreshingly non-aggrandizing portrait of a complex cultural figure.

What begins as a nasty delight chronicling a noxious family quickly becomes a meditation on gendered abuse.

Throughout, Supergirl draws from at least 10 different long-tapped cinematic wells.

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, and not just as a future load-bearing pillar of the internet-born horror movement that's now breaking ground.

The film threads the needle between supplying old-school scares and a meditation on Damian McCarthy's perspective as a storyteller.

Here, 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's relationship comedy, starring Robert Pattinson and Zendaya, is mercilessly uncomfortable and impudently funny.

Like a particularly impressive aspic, Emerald Fennell's 'Wuthering Heights' is tantalizing to behold but not so easy to swallow.

'28 Years Later: The Bone Temple' doesn't display the same bracing inventiveness and strangeness as the previous film.

The film is terrifyingly attuned to the way children create a social order that resists sensible adult influence.

'100 Nights of Hero' seeks to find liberation in the radical power of storytelling but is, unfortunately, as insubstantial as candy floss.

As is the case with most period dramas, James Vanderbilt's 'Nuremberg' is in direct conversation with the moment it was made.

Though the film is billed as a found-footage freak-out, the bulk of Chris Stuckmann's investment in that cinematic form is up top.