Rian Johnson’s follow-up to Brick works like a con itself: as long as there’s a part of us that’s willing to be taken on a ride, we’ll end up feeling like we came out ahead.

FNL isn’t just worth watching despite the time spent on the field; it’s so well crafted, you might even find yourself suppressing the urge to cheer out loud.

‘Watchmen’ is a spectacular piece of genre film that only fails at the unreasonable task we set before it.

Director Todd Field has what it takes to bring ‘Blood Meridian’ to life: now all we need are the people acting in front of the camera to be capable of matching Field’s discipline and talent.

Our special feature examining the past, present and future of the horror genre concludes this week by focusing on the best in recent horror films, and what they’re doing right.

Our series on the past, present and future of the horror genre continues. This week we look at the preponderance of terrible, terrible horror movies — by analyzing, in detail, a well-received horror movie from this year, why it is almost objectively terrible, and what basic rules of horror cinema it breaks.

Our special four-part series examining the past, present and future of the horror genre continues this week with Part II: The Lost Boys — How the most promising writer-directors in the field stopped making horror movies.

This month, we bring you a special four-part series examining the past, present and future of the horror genre, with a new article to be posted each week. This special feature debuts with Part 1: What Ever Happened to Rosemary’s Baby? — A Manifesto Regarding The Slow, Suspenseless Death Of Horror.

De Niro and Pacino are unquestionably a part of that top one percent with unparalleled talent — which is why it’s so baffling how unbearably bad they both are in ‘Righteous Kill’.

How marketers turned the idea of a target audience back on themselves, creating a unique feedback loop whose reverberations may be partly responsible for the show’s success.