Spectacularly entertaining. As gripping, as suspenseful as a finely wrought fictional thriller; a sheer delight as a portrait of the man himself. Films don’t get much more daring or crucial than this.
No snark, no spandex pantomime spectacle. Just noir mystery, Pattinson’s sad recluse a detective in a cesspit of corruption. Relentlessly grim, all darkness and despair, not escapist but of our time.
This should be salacious! We should revel in the seething jealousy and simmering resentments! But there’s not much suspense or engagement in waiting for someone to die, nor in finding out whodunnit.
Elegantly gloomy but ultimately unsatisfying gothic rural horror that is all too-static mood. Tom Hughes makes a valiant go of a descent into madness, but the character is little more than his misery.
Ambiguous, introspective, thoughtful. As weirdly uncomfortable as horror should be, and rarely is, as it examines how these movies can infect us. Niamh Algar is terrific, and deeply empathetic.
Grim, mysterious, and unsettling, never more so than when it is quiet and still. But a brutality lurks below its calm, slick surface. Oscar Isaac’s performance is a work of astonishing minimalism.
A cautionary tale about getting mired in the past is itself hamstrung by what has come before: overplayed noir tropes and underbaked sci-fi ideas. The fab cast at least elevates this to the mediocre.
Ridiculous excuse for a thriller — obvious, preposterous, ultimately banal — piles on psychological absurdities as it builds from a maddening middle to an enraging crescendo of misogynist nonsense.
As credulous — or con-artist cheaty — as its demon-hunter protagonists, but lacking their charm. Worse, it can’t even be bothered to justify and satisfy the procedural approach to its mystery.
I don’t see how the astonishing “Opera,” by Erick Oh, doesn’t win the Oscar for Best Animated Short. This is a stupendous achievement, a cartoon clockwork depicting life, the universe, and everything.