On paper, “The End of Oak Street” seems like a departure from the type of horror, noir, surrealist comedy work David Robert Mitchell is best known for in “ It Follows ” and “ Under the Silver Lake .” ...

Almost exactly 13 years ago, when I was still a freelancer for this site, I wrote a piece about how FX’s hit “It’s Always ...

One of the few ingenious ideas Lucasfilm has had across its increasingly stale Disney+ “Star Wars” era has been handing ...

There’s nothing about “Alley Cats” that’s particularly interesting outside of how it reflects the current state of its ...

Early on in Todd Haynes’ “Safe,” an unwatched television broadcasts a half-heard report on Elizabeth Bouvia, a woman ...

It doesn’t take long before the upbeat and knowingly cheesy veneer of “Ice Cream Man” dissolves into a fount of blood. That’s ...

USA Network’s “Anna Pigeon” is filled with beautiful Montana vistas (even if shooting took place in neighboring Alberta, ...

In Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma,” horror, cinema, and desire are intertwined. Though similar in ...

The critic turned filmmaker talks about working within other people's sensibilities and his own memories of SoHo.

This is the question at the center of Julia Hart‘s latest musical drama, “Don’t Say Good Luck,” which stars Sunny Sandler (star of the delightful 2023 comedy “You Are So Not Invited to My Bat Mitzvah“ ...

Dania Bdeir’s “Warsha” is one of my favorite kinds of short films. In a tight fifteen minutes, it takes the viewer on a real ...

The Mythic Dimensions of Christophe Gans, author and RogerEbert.com contributor Scout Tafoya gets into the French director’s ...