
It Comes at Night Review: Fear Turns Men Into Monsters, and Mostly Earns It
A grim tale of terror and mistrust amid a deadly plague, wherein two families find themselves turned into monsters by their own dread.


A grim tale of terror and mistrust amid a deadly plague, wherein two families find themselves turned into monsters by their own dread.

A young farm girl's dream of fame turns monstrous in Ti West's slow-burn horror prequel, with Mia Goth giving a chilling performance.

A tale of a child's kingdom: Moonee plays beneath Walt Disney World while her mother battles to keep their kingdom whole.

A hand whispers secrets, and a daughter dares to listen to the dead. Talk to Me reviews the terror of grief and possession.

Harmony Korine's Spring Breakers reviewed: four college girls rob a restaurant, meet Alien in St. Petersburg, and chase a neon American Dream.

Alex Garland's Civil War follows journalists through a fractured America. Our review weighs the camera-as-weapon idea against a slow middle and a blank president.

Darren Aronofsky's The Whale, starring Oscar winner Brendan Fraser, reviewed: one room, one chair, and a script that reaches for grace it never earns.

Uncut Gems: Adam Sandler's career-best turn as a Diamond District jeweler who can't stop betting, in the Safdie brothers' relentless crime thriller.

Robert Eggers' The Lighthouse, explained: Pattinson and Dafoe, the 1.19:1 frame, the Poe origin, the mermaid, and why it defies genre.

Moonlight review: Barry Jenkins's three-chapter masterpiece with Mahershala Ali, Trevante Rhodes and Naomie Harris. Best Picture winner, scored 9.9/10.

Reviewing Everything Everywhere All at Once: Michelle Yeoh, Ke Huy Quan, and a story that turns endless parallel lives into one family's answer.

Ari Aster's Midsommar review: Florence Pugh anchors a sunlit folk horror about grief, a Swedish commune, and a breakup that becomes a ceremony.
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