Elvis
M.C. Myers
Luhrmann's obsession with the image of Elvis creates an issue of authenticity. He makes people love the icon without believing in the man.
A Quiet Place Part II
M.C. Myers
A Quiet Place Part II tries to squeeze more sequence out of a great concept. It succeeds despite straining for believability amid conflicting rules.
The Munsters
M.C. Myers
Rob Zombie makes a twisted costume contest nightmare out of an idea of The Munsters that never overcomes its lack of inspiration or its cast's shortcomings.
Halloween III
M.C. Myers
The infamously misunderstood Halloween III is still little more than an unrefined pseudo-thriller on its own merits, unworthy of seasonal contention.
M.C. Myers
Halloween Ends has the power to finish its cluttered horror series meaningfully, even if this isn't what some of the series' fans were hoping for.
Werewolf by Night
M.C. Myers
Werewolf by Night struggles for clarity within the constraints of an homage, sequel, origin story, and TV special in one. But it's fun to watch it try.
Invasion of the Body Snatchers
M.C. Myers
Invasion of the Body Snatchers remakes a great B-movie with intellectual terror. It knows that irony makes it even scarier. This is pure horror joy.
Cyrano
M.C. Myers
Peter Dinklage is a powerful force for good in an otherwise listless adaptation that misinterprets whatever it doesn't omit entirely.
Samaritan
M.C. Myers
Samaritan accepts on faith that the audience thinks Stallone is a superhero. His charm, and almost nothing else, makes it sporadically watchable.
Sin
M.C. Myers
Sin is a portrait of an artist in pain, with god-defying amounts of melancholy. Lovers of classic art cinema will enjoy this more than he enjoyed himself.
Lightyear
M.C. Myers
Lightyear was so tangled in its struggle for effective marketing that every aspect of its filmmaking became a lower, or nonexistent, concern.
Prey Title Image
M.C. Myers
Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series' core values.