November 13, 2024November 13, 2024 Matt Bullions

‘Anora’ is a Dizzying Delight and an Existential Crisis

November 3, 2024November 3, 2024 Matt Bullions

‘Emilia Pèrez’ is an Audacious and Original Mess

November 1, 2024November 1, 2024 Matt Bullions

‘Here’ is a Flawed But Fascinating Journey Through Time

October 26, 2024October 26, 2024 Matt Bullions

‘Conclave’ is Half Prestige Picture and Half Trashy Airport Novel

October 22, 2024October 22, 2024 Matt Bullions

‘We Live in Time’ Never Moved Me

October 19, 2024October 19, 2024 Matt Bullions

‘Smile 2’ is One of the Best Horror Sequels I’ve Seen in Years

October 8, 2024October 8, 2024 Matt Bullions

‘Saturday Night’ is an Electric and Exuberant Feast For Fans of Classic Comedy

October 5, 2024 Matt Bullions

‘Joker: Folie à Deux’ is an Exhausting and Excruciating Musical Misfire

September 30, 2024September 30, 2024 Matt Bullions

‘Megalopolis’ is a Legendary Piece of Garbage

September 29, 2024September 29, 2024 Matt Bullions

‘The Wild Robot’ is a Thoughtful and Poignant Masterclass in Animation

September 25, 2024September 25, 2024 Matt Bullions

‘The Substance’ is a Bleak, Brutal and Brilliant Battle Cry

September 13, 2024September 13, 2024 Matt Bullions

‘Speak No Evil’ is a Rare Horror Remake That Works

September 12, 2024 Matt Bullions

‘My Old Ass’ is a Cathartic Healing Experience

September 11, 2024 Matt Bullions

There’s Nothing Going On in ‘The Front Room’

September 6, 2024 Matt Bullions

‘Beetlejuice Beetlejuice’ is a Shockingly Satisfying Return to the Netherworld

September 1, 2024September 1, 2024 Matt Bullions

‘AfrAId’ Shows How Low Blumhouse Has Fallen

August 28, 2024August 28, 2024 Matt Bullions

‘Between the Temples’ Held This Viewer at a Distance

August 26, 2024 Matt Bullions

‘The Crow’ (2024) Has No Compelling Reason To Exist

August 25, 2024 Matt Bullions

‘Blink Twice’ is One of the Summer’s Best Surprises

August 24, 2024 Matt Bullions

‘Strange Darling’ Has Some Serious Problems