It's difficult to imagine another film in this subgenre so thoroughly disinterested in the substance of the materials at its center.

Michael Showalter’s 'Verity' is a slightly twisted yet ultimately muted romance containing neither thrills nor passion.

This is a purported cri de coeur against our billionaire overlords, but somehow it still manages to be a shameless Tom Cruise ego stroke.

Something wickedly boring and borderline incoherent this way comes.

The game feels torn between delivering a globe-trotting adventure and focusing on personal and interpersonal matters.

The album presents an unfettered picture of life not as we remember or wish it to be, but as it actually is.

Taylor Swift closed out her acceptance speech for the first ever “artist director” moon man by debuting the video for “Patient Zero.”

The singer’s set featured cameos by Sabrina Carpenter, Charli XCX, Sombr, Julia Garner, Seth Rogen, and more.

'Control Resonant' remarkably maps Dylan Faden's inner life onto his movement through the game's open world.

More than 'Godzilla Minus One,' Yamazaki Takashi's follow-up feels tormented by the very carnage it adores.

The mysteries of spirituality loom large, especially in the familial drama that forms the beating heart of the film.

Joel Crawford and Januel Mercado's 'Forgotten Island' exuberantly draws from a vast, under-explored ocean of Filipino mythology.

A winsome comedy that lands somewhere in between goofy ambient TV and full-fledged satire.

Closer to a grotesquerie, Lance Oppenheim's film foists us into a nightmarish carnival of irresponsibility.

In a work as psychologically rich and emotionally devastating as 'Long Day's Journey Into Night,' the performances are everything.

Louis Paxton's 'The Incomer' leans more in the direction of a whimsical folk tale than a grim horror freak-out.

Giuliano stages his feature directorial debut with a formal elegance and contemplative tone that lifts it beyond its familiar genre tropes.

The album asks what independence is worth when it starts to look like crushing loneliness.

Stylistically, the film marks a hard swerve away from the grim realism of director Josef Kubota Wladyka's previous features.

Vivid visual choices help 'Townfall' bring the classic 'Silent Hill' alternate world to life, and better than ever before.

Despite the film's gleeful show of grottiness in its early going, fans of Miike Takashi's 'Ichi the Killer' may be disappointed.

The film strikes a nice balance between delivering nail-biting thrills and taking a bite out of white meddling in the Global South.

The album’s abrupt shifts in genre and tone never allow you to settle in and get a firm grasp on what Miley’s vision might be.

Like the celebrated fictions of its subject, Mariano Llinás's 'Life of Jorge Luis Borges' is a work of many dimensions.

The song plays like a culmination of over a quarter century of club music paired with an opulent period piece of a music video.

Peter Farrelly's film shows little interest in uncovering anything beneath the familiar surface of the Hollywood icon at its center.

The film is a hilariously dark and darkly hilarious romp whose plot isn't trying to sell non-gamers on touchstone moments from the games.

The album reminds us that great music takes you on a trip to someplace you never knew existed.

Following Allison Janney’s Emmy win, the series returns with more blood, backstabbing, and, of course, audacious cliffhangers.

The odd and poignant 'The History of Concrete' could be seen as a show of Buddhist acceptance of art's—and by extension life's—transience.

The singer appeared alongside host Mariska Hargitay in pre-taped ‘Law & Order: SVU’ sketch.

Beck’s return to windswept folk-rock is frequently beautiful, even as it produces diminishing returns.

Padraic McKinley's tactile Depression-era adventure motors along enjoyably enough, but it never quite breaks free of its limitations.