“Brice and company get too tied up in the character comedy for ‘Corporate Animals’ to work as a satire, and the televisual filmmaking isn’t helped by a plotline that could have been a single episode of ‘The Office.'”
“Hazarika’s is a voice that comes from outside of the Bollywood canon and reverberates sharp and hard throughout the cinemascape of the country. May it grow only louder.”
“‘Alien’ is a gift that keeps on giving, and ‘Memory: The Origins of Alien’ unwraps so many colorfully wrapped boxes of various shapes and sizes.”
“Eggers is persistent in never revealing his hand, but I’ve got a hunch he’s hiding a royal flush.”
“If ‘Alien’ came out today, it’d likely be hailed as some sort of genius elevated horror/prestige sci-fi movie. It’s an engrossing, pulse-pounding thriller with brains and a unique and stunning visual style. Forty years later, ‘Alien’ remains one of the best sci-fi AND horror films of all time.”
“‘Happy Death Day 2U’ is a light sci-fi movie with the thinnest veneer of horror, and your enjoyment of the film will depend on your willingness to accept its geeky premise and nonexistent scare factor.”
“‘Lords of Chaos’ is a nasty little treat: involving, fascinating and often shocking.”
“‘Velvet Buzzsaw’ is nicer to look at than a urinal signed ‘R. Mutt,’ but like Duchamp’s ‘Fountain,’ I won’t be rushing to see it again anytime soon.”
“A thorough, engaging thesis that bridges physical and digital gaps both affirming and sinister, ‘A Self-Induced Hallucination’ is a witty, gripping compilation of collaborative creativity and sterile self-interest.”
“Perhaps dismissing von Trier’s work is the right course of action for those that have never found anything to connect to in his films. As for the rest of us (women)… the relationship will only continue to take warped, strained forms.”
“Whether ‘All the Creatures Were Stirring’ becomes a festive must-watch remains to be seen, but there’s enough to enjoy for it to be a part of horror fans’ yearly rotation.”
“Patient blood aficianados who stick with the filmmaker to the final reel will most certainly receive their crimson reward.”
“‘Halloween’ might be funny, but it’s also the nastiest, most violent entry in the series yet.”
“Frank Henenlotter and his films have the demeanor of a naughty uncle making wild, dirty jokes while telling a campfire ghost story. He wants you to take the material seriously, but he’s mostly concerned with you having a great time.”
“‘Revenge’ is not quietly revolutionary. It makes its message quite clear. Loud, brash, neon-colored and shot like a music video, the flick is unabashedly cool.”
“In ‘Crash,’ sex feels like a traffic accident. In ‘Videodrome,’ it becomes the subject of a warped, projected fantasy.”
“The real strength of ‘Inferno’ is the dominant sense of terror that Argento creates through his mastery of physical space (shaded by bright reds and blues, contrastive images of grandeur and decay in the production design)…”
“‘Hounds of Love’ makes an intriguing case for suggestion in place of an all-out, sensationalized show.”
“The genius of ‘It Comes at Night’ is that its monsters are, for the most part, human.”
“‘Get Out’ explores many notions: the duplicitous nature of liberal racism, the cumulative damage of microaggressions and appropriation, assimilation versus acculturation. But it’s the deer imagery that continue to elude audiences.”