This remake of the 2022 Danish film suffers from a stultifying fidelity to the original – except in two major respects, where there has been a decided downgrade. A waste of a very strong cast.

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The directorial debut of Robert Eggers’ younger brothers Max and Sam is an uneasy mishmash of influences, on top of being a tedious scatological assault on the senses.

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While the Shock Doctors share most of Chris Weitz’s feelings about AI and other facets of modernity, the actual film he’s assembled is a muddled hodgepodge of grievances that never coheres.

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Alien: Romulus is not without its merits – set design and visual style in particular – but it suffers from an excess of fanservice callbacks, and the AI revenant of Ian Holm was a serious misstep.

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Buoyed by a committed, charismatic lead performance from Josh Harnett, Trap nonetheless suffers from a lack of commitment to its initial single-location conceit.

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Given the background of the material and the people involved, The Exorcism qualifies as a serious disappointment. Turgid, incoherent, and riddled with cliches, this film should have stayed on the shelf.

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Our first great horror experience in recent memory, Longlegs is a slam-dunk early candidate for our favorite of the year. Oz Perkins, Nicolas Cage, and Maika Monroe have never been better.

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Marred by the superficiality of its sleazy 80s atmosphere, and the bizarre absence of heft in its central character, Ti West’s third X entry ends this franchise with a whimper.

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Michael Sarnoski’s prequel shares some of the pitfalls of earlier entries in the series, but his indie sensibilities add a new character-driven flavor to this film – and Lupita Nyong’o is characteristically excellent.

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Ishana Night Shyamalan’s feature directorial debut unfortunately shares a lot of DNA with her father’s worst work, particularly Lady in the Water. The result, like that film, is rather tedious.

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