There are war films that thrive on explosions and battlefield spectacle, and then there are those that understand the greatest casualty of war is often measured in quieter moments. Thirty Seconds Over Tokyo, directed by ...

Long before cult classics were manufactured by social media, Troll earned its reputation the old-fashioned way—through late-night cable, worn-out VHS tapes, and word of mouth. Decades later, its strange little spell ...

Crime 101 is both ageless and of the moment: a sleek, intoxicating knockout from writer-director Bart Layton, who pulls source material from Don Winslow. Layton, best known for his merging of fact and fiction in American Animals and The Imposter, goes full-on   ...

There are movies you defend because they're genuinely great. Then there are movies you defend because they're gloriously fucked-up pieces of cinematic history that refuse to die. Deathstalker has always belonged ...

The Love Heist knows exactly what it's selling, and thankfully, it doesn't waste time pretending to be something it's not. Directed by Kevin Fair and written by Holly Gent, the film drops us into the glitz of the   ...

Solvorn hasn't released a debut—they've detonated the fucking thing. Echoes of Godless Light crashes in like a meteor, dragging melodic death metal through broken glass before setting the whole damn genre ...

I don't remember where I was for every great television premiere. I remember exactly where I was when The X-Files aired. It became more than a weekly ritual—it became part of my life. ...

Every filmmaker has a movie that defines them. For Steven Spielberg, you could make the case for Jaws. Or E.T. Or Schindler's List. But if you're looking for the film where every one of his instincts collided—suspense, humor ...