Sinners is one of 2025’s best films. More to the point, it’s one of the best I’m going to see this decade. Coogler has crafted something special.

Landon shows a playfully eclectic majesty where it comes to balancing suspense, horror, humor, and general human pathos and planting them inside a scenario that’s as silly as it is inspired. Because of this and more, Drop ends up being a massive amount of fun.

My opinion on Constantine has moved considerably from where it was when I first saw the film 20 years ago. I still don’t think it entirely works, but the positives do significantly outweigh the negatives.

Heart Eyes is the best romcom-slasher hybrid that I’ve ever seen.

There’s nothing robotic about Companion.

Much like he did with 2020’s superb The Invisible Man, director and co-writer Leigh Whannell reinvents the classic Universal Monster cinematic lore with Wolf Man, a stripped-down, decidedly modern take on lycanthropic lore.

Night of the Comet: Forty years later, the end of the world remains as satirically prescient as ever. Bitchin’, isn’t it?

Nosferatu left me feeling empty. It kept me at a frustrating distance, and even its tragic denouement of selfless sacrifice hit me as more perfunctory and preordained than authentically intimate.

Like the promising early days of the internet, Y2K’s only lasting legacy will likely be one smothered in disappointment and missed opportunity.