“All you need is kill” is sci‑fi anime at its most relentless and human
“All You Need Is Kill” doesn’t ease you into its world—it drops you straight into the wreckage and asks you to find your footing while everything is still burning. Set in the near-future year 20XX, the film imagines a Japan struggling to rebuild after the sudden appearance of Darol, a massive alien “flower” that feels less like an invader and more like an omen.
Old‑school justice, new‑school grit: “Oscar Shaw” is Michael Jai White at his best
Something is refreshing about an action film that doesn’t rush to explode everything on screen. Michael Jai White’s latest project, “Oscar Shaw,” quietly arrives on demand and showcases its influences, drawing from the lean, street-level thrillers of the 1970s.
“Anaconda” returns — and it’s way funnier (and smarter) than it has any right to be
Director Tom Gormican, in collaboration with writer Kevin Etten, leans hard into meta-humor, but does so with a light touch. Instead of being a remake or reboot, the story becomes a comedy about fandom, arrested development, and the desperate hope that finishing a long-abandoned dream might somehow straighten out adult life.
“The Housemaid” is sleek, silly, and sharply aware of its own appeal
Paul Feig—whose directing career has oscillated between inspired subversion and crowd-pleasing autopilot—firmly lands in the latter camp here. This film isn’t the sly genre remix of “A Simple Favor,” nor does it aim for Hitchcockian elegance.
Trust is the first casualty in “The Rip”
Set against the backdrop of a Miami Police Tactical Narcotics Team still grappling with the unresolved murder of their captain, the film opens in a state of institutional paralysis. Six weeks of bureaucratic deadlock have left everyone tense, restless, and quietly furious.
28 years later: “The Bone Temple” is a sequel that bites harder than the infection
The fourth installment of a popular post-apocalyptic franchise arrives with a fresh spin from director Nia Dacosta in “28 Years Later: The Bone Temple” from Sony Pictures. Series regular Alex Garland returns to pen the screenplay.
“Primate Goes Bananas”: Johannes Roberts Delivers a Gory, No-Nonsense Horror Kickoff for 2026
Director Johannes Roberts kicks off the 2026 horror movie season with “Primate” from Paramount Pictures.
Jodie Foster carries “A Private Life” on poise, precision and pure authority
A few weeks after watching the film “A Private Life” from Sony Pictures Classics, it still feels somewhat surreal to see Jodie Foster glide through a French movie, speaking flawless French and carrying the entire project on her shoulders.
Lucy Liu delivers a career Best Performance in “Rosemead”
Lucy Liu continues her shift towards more dramatic roles with a career-best performance in “Rosemead” from Vertical. Eric Lin directs the film and co-writes the script with Marilyn Fu.
“The Plague” explores the quiet horror of belonging
The pain of adolescence is explored in “The Plague” from IFC Films. Charlie Polinger makes his directorial debut with this film.
Grief before the groans: “We Bury the Dead” walks a careful line
Director Zak Hilditch begins the 2026 movie season with the zombie thriller “We Bury the Dead,” produced by Vertical Entertainment. Hilditch also wrote the film’s screenplay.
Amanda Seyfried can’t save ‘The Testament of Ann Lee’ from its own cold ambition
It’s tempting to compare *The Testament of Ann Lee* to “The Brutalist,” but that comparison flatters this film more than it deserves. Writer-director duo Mona Fastvold and Brady Corbet have previously demonstrated their capacity for elegance, with “The World to Come” being their most complete and emotionally coherent work. However, this latest effort feels more enamored with its own seriousness than with the fundamentals of storytelling.