Two and a half years on the shelf didn’t do this movie any favors. In retrospect, maybe it should have stayed there.

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This tale of the immigrant and refugee experience is harrowing in more ways than one.

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The diminishing returns inherent to horror sequels are never more apparent than when you make a sequel to a horror comedy that’s a rock-solid… 5.5/10.

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Michael Mann’s follow-up to Thief is a beautiful but incomprehensible hodgepodge – incomprehensible both on a plot basis, and because you can’t hear what the fuck anyone is saying.

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Justin Simien’s tale of a demonic weave has some tonal inconsistencies and juggles a variety of somewhat incompatible influences, but the end result is generally a good time.

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Paul Verhoeven’s take on the Invisible Man formula is just as sleazy and outlandish as you might expect.

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David Koepp’s House of Leaves riff is best described, in Matt’s words, as “medium clever.”

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An offbeat possession movie that features top-notch performances, while dispensing with most of the genre’s tired tropes and over-the-top CGI theatrics? Sign. Us. Up.

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The sequel nobody asked for to a movie nobody liked, The Gallows Act II also attempts to hitch its wagon to a viral fad long since faded into irrelevance.

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Don’t believe the marketing – or last episode’s outro – Antebellum has nothing to do with time travel, except maybe in the sociological sense.

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