Review: ‘The Strangers’ sequel slaughters slasher genre
Instead of being a bold take on the masked-murderer-by-the-lake trope, “Prey at Night” is a hollow shoutout to better films.
Instead of being a bold take on the masked-murderer-by-the-lake trope, “Prey at Night” is a hollow shoutout to better films.
“Celeste” is a stellar, stylish and soothing game that succeeds in telling a pertinent story without succumbing to unearned truisms and clichés.
“Everything Sucks” is often messy and illogical, just like its adolescent characters. It’s not a smart series, but it’s a sweet one.
Glee and excitement pervade in “Peter Rabbit” from the first frame to the finale, but between the moments of triumph are instances of darkness.
“Altered Carbon” tries to cram too much plot into too few episodes, trading stable storylines for pointless, plodding tangents.
Staff Writers Jake Leary and Colin Tessier discuss the many failures of Netflix’s “The Cloverfield Paradox” in this week’s episode of “Deja View.”
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Dabbling in several genres without committing to any of them, “The Cloverfield Paradox” feels incomplete, cobbled together and woefully unsatisfying.
“Den of Thieves” is too serious to be enjoyable and too outlandish to be taken seriously.
Mat Fournier said the exhibit offered insight into a feminist perspective of modern art while also offering students a break from classroom tedium.
Even when the climax kicks into high gear, Director Collet-Serra’s vehicular thriller fails to quicken the pulse.
“Insidious: The Last Key” is like an episode of “Scooby Doo”: at best, shallow but enjoyable, and at worst, inexplicably incoherent.
“I, Tonya” skates by on its performances and vitality, but is held back by poorly implemented musical moments and questionable character diversions.