How can we appreciate David Lynch's Blue Velvet, a film about America's private darkness, in an era when such anxieties, tensions, and corruptions are so openly apparent?
Paul Leni loved to move the camera to unsettle viewers -- under curtains, through doors, down trapdoors, swinging on ropes -- as seen in The Man Who Laughs and The Last Warning.
It makes perfect sense that 2019 — the last year of the decade — should also be the last year for one of the 2010s' best shows. To continue would be a disservice to viewers.
Directors Christopher Caldwell and Zeek Earl reflect on a lack of wisdom for their practical film school with their debut feature, Prospect, and an aspiration to evade the trappings of sci-fi filmmaking.
There's almost never a moment in One Deadly Summer that doesn't recall a crushing nostalgia, using tone and texture to evince a sort of empathetic longing.
Tense, unflinching, and completely self-aware, Pet Sematary veers away from its source material in satisfying ways, yet remains true to Stephen King's uncompromising vision.
If you care about 3-D history, or about Lamas, or about how far the '50s could push erotic buttons (or un-buttons) within family entertainment, you'll have a good time with 'Sangaree' and 'Jivaro'.
The budding auteur's follow up to Get Out, Us, is murkier than its predecessor but features a treasure trove of potent references to keep its ambitious premise afloat.
At its best Jordan Peele's Us shows that when a society subjugates and marginalizes huge swathes of its population, it is doomed to devour itself from within.
Jordan Peele's home invasion thriller, Us, in which a family is threatened by their doppelgänger, relies on a clutch of jaw-dropper reveals but also a creeping sense of universal guilt.
James McAvoy's impressive acting and fleeting moments of powerful imagery dazzle in M. Night Shyamalan's Glass, but that can't make up for the film's shattered second half.
