February 9, 2025February 10, 2025 Matt Bullions

‘I’m Still Here’ is Brilliant, Devastating and Essential

February 7, 2025 Matt Bullions

‘Heart Eyes’ is a Surprisingly Fun and Clever Slasher Rom-Com

January 29, 2025February 1, 2025 Matt Bullions

‘Companion’ is a Demented and Deliciously Twisted Delight

January 26, 2025January 26, 2025 Matt Bullions

‘Presence’ is an Eerie and Surprisingly Emotional Ghost Story

January 25, 2025January 16, 2026 Matt Bullions

Matt’s Best Films of 2024

January 19, 2025 Matt Bullions

‘Wolf Man’ is Fine for a January Horror Flick, But is Otherwise Pretty Underwhelming

December 23, 2024December 23, 2024 Matt Bullions

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

December 22, 2024December 18, 2024 Matt Bullions

‘Nosferatu’ Is Effective, But Could Be Nuttier

December 21, 2024December 20, 2024 Matt Bullions

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

December 3, 2024 Matt Bullions

Amy Adams is Giving a Ferocious and Fearless Performance in ‘Nightbitch’

November 19, 2024November 24, 2024 Matt Bullions

‘Wicked’ is a Breathtaking Reminder of the Magic of Movies

November 15, 2024 Matt Bullions

‘Heretic’ is Two-Thirds of a Great Horror Movie

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

October 26, 2024October 26, 2024 Matt Bullions

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

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

September 25, 2024September 25, 2024 Matt Bullions

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

September 6, 2024 Matt Bullions

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

August 26, 2024 Matt Bullions

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