'Furiosa: A Mad Max Saga' (2024) Movie Review

“Do you have it in you to make it epic?” one character asks another near the end of Furiosa: A Mad Max Saga. In answer to his own question, George Miller casually strolls over, taps the mic, leans in, and responds, “Yes, yes I do.” The 79-year-old action maestro has once again stepped up to show the whippersnappers exactly how to do it. And it is good.

'The Northman' (2022) Movie Review

I may not be as entirely in love with The Northman as many, though I do think it’s quite good. I am, however, definitely in love with the fact that after The Witch and The Lighthouse, which has budgets of approximately $5 and $11 million respectively, someone gave Robert Eggers a shit-ton of money (reportedly in the neighborhood of $90 million) to direct a bonkers-ass, borderline-hallucinatory Viking epic. And damn does he ever go for broke. It’s strange and esoteric and features both a White-Walker-looking Valkyrie with braces and Bjork playing a creepy no-eyed witch to provide a bit of context. 

'The Northman' Trailer: Robert Eggers Returns With Vikings And Vengeance And Bjork

Around these parts, we’re big fans of Robert Eggers. When you go back to back with The Witch and The Lighthouse right out of the gate, we’re going to pay attention. And damn, the first trailer for his upcoming Viking vengeance tale, The Northman, does not disappoint. Check it out below.

'Last Night In Soho' Trailer: Edgar Wright Returns With A Psychological Horror Film

Okay, that’s how you use a slowed-down maudlin version of a well-known popular song in a movie trailer. Well played, Edgar Wright, well played. This is, of course, in reference to the use of the use of Petula Clark’s “Downtown” in this trailer for his upcoming 1960s-set horror movie, Last Night in Soho. Which looks like a fine time. Check it out below.

'Thoroughbreds' (2018) Movie Review

When an actor dies in sudden, tragic fashion, often their death overshadows their final performance. Anton Yelchin passed away in 2016, just 14 days after filming wrapped on Thoroughbreds. A sharp, clever, emotionally affecting thriller, it fits nicely in the niche of off-kilter indie fare he carved out for himself. It watches like a companion piece to Tragedy Girls, a kind of modern riff on Heathers, funny and biting and earnest.

'The New Mutants' Trailer Is More Horror Than Superhero

I’m not fully on board with those who argue we’re hitting a point of superhero fatigue. In general, I enjoy them and look forward to the next chapter. Just over the next two weeks we get Thor: Ragnarok and Justice League, though I’m more concerned (or at least I have more questions) about the latter than the former. Still, it’s hard to get too excited when there’s yet another superhero joint. Especially The New Mutants, mostly because I’m admittedly not hugely familiar with the title (though I love creator Chris Claremont), and the last Fox X-Men movie was so lackluster. But the first trailer is here, and I’m definitely changing my tune.

'Split' (2016) Movie Review

Over the course of his career, M. Night Shyamalan has earned a certain reputation as a filmmaker. He’s the guy with the twist endings, every goddamned time, right? When his name appears on a film, wondering “what’s the twist?” is practically a Pavlovian response. So it’s no surprise that his latest, the psychological horror joint Split, attempts to pull off a last-minute shock-a-roo. 

'Morgan' (2016) Movie Review

Luke Scott’s sci-fi/horror thriller Morgan is a frustrating watch. Admirable in it’s ambition, full of potentially interesting themes and ideas, with a fantastic cast and heady premise, there’s a great deal to ingest and appreciate. Which makes it maddening that the finished product face plants into tedium, the painful twist becomes obvious five minutes in, and it never capitalizes on what works in its favor.

Movie Review: 'The Witch'

Robert Egger’s debut feature, The Witch, may be a horror movie, but it’s more of a folk or fairy tale, a suspense thriller dressed up in supernatural trappings. Steeped in the religious conviction and paranoia of 17th Century New England pilgrim life, this is more dirt-smudged tension and distrustful atmosphere than jump scares and monsters hiding around corners.