The first wide release of 2019, director Adam Robitel’s Escape Room is an inventive little horror-thriller that has a fair amount of fun with its somewhat familiar premise.

This next chapter of the Halloween story is undeniably its own distinctive thing, Michael and Laurie’s return to greatness as thrillingly bloodcurdling as it is joyfully welcome.

I keep trying to convince myself that I liked the science fiction road trip suspense-thriller Kin more than I actually did.

There’s a lot to applaud about The Darkest Minds, just not enough to believe audiences will give it the type of look it is going to need to need for 20th Century Fox to continue to adapt Bracken’s books anytime in the immediate future.

While no one is going to win an Academy Award for their efforts the collective authenticity of the primary cast is never in doubt, and as such caring about whether they live or die is surprisingly easy to do.

The Endless goes places that are both eerily unexpected and emotionally affecting, the all-encompassing monstrous beauty of this spellbinding sci-fi thriller impossible to understate.

A Quiet Place is close to perfect, this monstrously entertaining chiller a nightmare-inducing smash I’m going to be screaming the praises of for many years to come.

While a step up from Cline’s book, and while Spielberg does make a number of attempts to comment and dissect many of the more noxious elements regarding gender and race that are found inside the story, Ready Player One never seems to be fully able to reconcile any of its major themes in ways that aren’t either condescending or offensive.

The audacity of a Netflix premiere a little over two hours after a Super Bowl trailer presentation aside, there’s precious little about The Cloverfield Paradox that rises to the same heights as the previous two entries in the anthology series soared to, making this one more of a uniquely weird curiosity than it is anything compellingly substantive.