New Movie News
Gator Face Used Real Alligators and Zero AI, Which in 2026 Counts as a Mission Statement
Gator Face leads with a boast that would have been unremarkable a decade ago and now reads like a manifesto....
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Do You Want to Play? World-Premieres at FrightFest Today, and It Knows the App Was Never the Monster
Here is the trap a movie called D3MON, about a haunted demon app, is supposed to fall into. It is...
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Resentment Is Noah Millman’s First Feature, and It’s About the Fear of Never Making One
The most dangerous movie a first-time director can make is the one about the man who never became who he...
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Cruel Love, Christian Oliver’s Final Film, Is Now Available, and Cinema Refuses to Let Him Go
There is a thing film does that no other art can, and you only really feel it at moments like...
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Dune Won the IMAX War: “Part Three” Tickets Are On Sale for Dunesday
Tickets for Dune: Part Three are now live on Fandango, and before you do anything else, here is the one...
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Hand-Drawing the Texas Chain Saw Massacre Is Either Genius or Sacrilege. I’m Buying a Ticket Anyway.
Somebody is redrawing The Texas Chain Saw Massacre by hand. Every frame. All ninety-odd minutes of the grimiest, sweatiest, most...
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The Saint’s Alive: Ian Ogilvy and a Hidden 007 Bloodline Power the British Throwback “Knightfall”
On paper, Knightfall is a modest British spy thriller heading straight to your living room, the kind of lean, VOD-bound...
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First Blinking, Now Sleeping: James Ross II’s “Parasomnia” Weaponizes the Involuntary
Every horror filmmaker is looking for a fresh way to scare you, and James Ross II has found a genuinely...
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The Last Analog Man: John Turturro Steals a Great Role in Noah Segan’s “The Only Living Pickpocket in New York”
The pickpocket is a doomed profession, and everybody in the trade knows it. You cannot lift a cancelled credit card...
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It’s Not Really About Concrete: John Wilson’s Feature Debut Is a Trojan Horse for the Modern Film Industry
The single most reliable trick in John Wilson's arsenal is the bait-and-switch. You come for the ostensible subject, some...
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