Baz Luhrmann’s The Great Gatsby has quite a bit going for it: an epic soundtrack; eye-popping art direction; a titanic-sized (or Titanic-sized) budget, courtesy of co-producer Jay-Z; a number of radiant performances; and source material from F. Scott Fitzgerald’s Great ...

From Up on Poppy Hill is a fine film. But it’s not a great one.

Some people have never been particularly friendly to the Transformers director; according to Rotten Tomatoes, his 1996 prison-break adventure The Rock is the only Bay film to inspire so much as toleration from critics, while serious film fans deride his ...

Oblivion is just as interesting for what it might mean for sci-fi fans as for what it actually is. It gives us everything we’d expect from a movie that comes with a reported $100 million price tag, but it’s also ...

Shock-rocker Rob Zombie’s fifth feature, The Lords of Salem, is his most accomplished movie so far, and has something none of his previous films could claim: a sense of fun.

The Evil Dead cries out for revisiting—on the surface, anyway. Originally shot for less than $100,000 at a cabin just outside of Morristown, Sam Raimi’s debut is a textbook on (mostly) transcended limitations.

Spring Breakers is still a nihilistic (though frequently hilarious) film about young people who suffer from a dangerous disconnect between their actions and the consequences they might have, but this is an altogether more accomplished and more accessible work than ...

The ABCs of Death, which the Knoxville Horror Film Festival is screening this weekend, collects 26 short films—one for each letter of the alphabet—by 26 acclaimed directors from around the world, most of them under 40.

Raimi’s prequel is a fun (if overinflated) movie that works beautifully as a guided tour through a vividly rendered Oz, and you couldn’t ask for a better—or more demented—tour guide.

It didn’t seem too much to ask that Bryan Singer’s long- and little-awaited Jack the Giant Slayer be a wall-to-wall disaster, the sort of bomb that brings this regrettable recent string of fairy-tale reboots to an end.

The fact that the boogeymen in Dark Skies are aliens and not ghosts or the demons who lurk about in both of the aforementioned films is irrelevant; Dark Skies is perhaps the most explicit (and explicitly derivative) mile marker of ...

Rarely have the talents of Al Pacino, Christopher Walken, and Alan Arkin been as crassly misused as they are in Stand Up Guys.

Beaming brides and welling grooms say them thousands of times every day, and mean them, but they are heavy words indeed: “Till death do us part.”

It took me an embarrassingly long time to key into the fact that Warm Bodies is essentially just an inevitable variation on the post-Twilight girl-loves-monster formula.

Really, Jacques Adiard’s emotionally devastating Rust and Bone is two films in one. At its core, it’s an unlikely love story between two flawed, broken, battered people, pulled together by the same animalistic instincts that eventually tear them apart. Then ...