Resident Evil finally understands that survival horror works best when the hero is underprepared, the ammunition is scarce and every locked door feels more threatening than another lecture about Umbrella Corporation lore.
Onslaught has the cast, gore and Carpenter worship to be a midnight-movie blast, but its slow burn leads to a payoff that feels more familiar than ferocious.
The effects made Terminator 2 historic. The reason it still works is that Cameron never treats spectacle as a substitute for character, fear, or moral choice.
Jacob Elordi, Josh Brolin and Margaret Qualley give The Dog Stars a humane center, even as the film’s increasingly busy second half loses some of the emotional clarity of its quieter opening.
Noomi Rapace and Andrzej Konopka wander through a retro-futurist fever dream full of striking ideas, brutal textures and a murder mystery that becomes harder to follow with every answer.
Anne Hathaway and Ewan McGregor keep a lively prehistoric survival movie grounded, but The End of Oak Street is more fun as a throwback than it is distinctive on its own.
Kristen Stewart and Alia Shawkat make an easy, believable comic pair in a stoner comedy that is sweet, chaotic, and only intermittently as funny as it thinks it is.
Monica Barbaro and Callum Turner bring charm, comic ease, and genuine warmth to a glossy New York romance.
A promising grief drama built around an artificial child becomes one of Kore-eda's most emotionally remote films.
Milly Alcock is terrific as a damaged Kara Zor-El, but the film keeps sanding down the sharper edges of the comic that inspired it.
Emily Blunt gives one of her finest performances in Spielberg's moving, uneven collision of government conspiracy and extraterrestrial awe.
Grogu remains irresistible and the practical world looks terrific, but Star Wars returns to theaters with a side quest instead of a real event.
A junior high science teacher wakes up alone at the far edge of the solar system and has to save the species. Somehow, the math checks out emotionally too.
