February 1, 2025 Matt Bullions

‘Love Me’ is One Interesting Idea Stretched Way Beyond Its Limits

January 26, 2025January 26, 2025 Matt Bullions

‘Presence’ is an Eerie and Surprisingly Emotional Ghost Story

January 25, 2025February 27, 2025 Matt Bullions

Matt’s Best Films of 2024

January 18, 2025 Matt Bullions

‘Hard Truths’ is a Fascinating Study of Human Behavior

January 12, 2025 Matt Bullions

‘Better Man’ is Nutty and Electrifying

December 23, 2024December 23, 2024 Matt Bullions

How Did Anyone Think ‘Kraven the Hunter’ Was A Good Idea?

December 21, 2024December 20, 2024 Matt Bullions

Nicole Kidman Does Some of Her Finest Work in the Electric ‘Babygirl’

December 20, 2024December 20, 2024 Matt Bullions

‘The Room Next Door’ is a Haunting Meditation on Grief

December 19, 2024December 18, 2024 Matt Bullions

‘The Brutalist’ is a Towering Yet Flawed Cinematic Achievement

December 18, 2024December 18, 2024 Matt Bullions

‘Queer’ is Yet Another Luca Guadagnino Winner

December 12, 2024 Matt Bullions

Pamela Anderson Was Born to Play ‘The Last Showgirl’

December 10, 2024 Matt Bullions

Timothée Chalamet’s Performance Makes ‘A Complete Unknown’ Sing

November 30, 2024November 30, 2024 Matt Bullions

‘Juror #2’ is a Derivative and Underwhelming Courtroom Drama

November 26, 2024November 26, 2024 Matt Bullions

Angelina Jolie Gives a Career-Best Performance in ‘Maria’

November 16, 2024November 16, 2024 Matt Bullions

‘A Real Pain’ is One of the Year’s Best Surprises

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