Sam Raimi’s Send Help  strands two people on a deserted island and then does the cruelest thing imaginable: it refuses to tell you, with any certainty, who deserves to be saved. What begins as a high-concept survival thriller quickly curdles into something sharper and stranger; a labor satire, a power-play psychodrama, and a gross-out morality tale that keeps slipping the moral high ground out from under your feet. It’s the most alive Raimi has felt in years, not because he’s

Stop me if you’ve heard this one before: Jason Statham plays a man with a violent past who has chosen exile over absolution, only for circumstance to drag him back into the life he’s trying to escape. Shelter knows exactly how familiar that premise sounds, and to its credit, it doesn’t pretend otherwise. Instead, director Ric Roman Waugh leans into the well-worn grooves of the Statham action thriller and tries, sometimes successfully, sometimes not, to sand them down into som

Mercy begins with a question it seems very proud of asking: what if ChatGPT could kill you? Not metaphorically ruin your afternoon or confidently hallucinate your demise, but literally execute you, right there in a courtroom, after skimming your browser history and deciding you’d had enough chances. It’s an enticing hook, one that promises a paranoid techno-thriller about surveillance, justice, and the quiet terror of living under an algorithm that knows you better than you k

From a distance, the Bone Temple still looks like a warning, a pagan structure erected to repel the curious and the hopeful alike. But “28 Years Later: The Bone Temple” isn’t interested in keeping us out. Nia DaCosta’s ferocious sequel drags us straight inside, insisting that whatever future humanity has left will be decided not by the infected, but by the rituals we invent to live with them. Where Danny Boyle’s “28 Years Later” treated the Bone Temple as a symbolic endpoint,

What does it mean to faithfully dramatize recent history when the facts themselves are already stranger, messier, and more revealing than fiction? That tension sits at the center of Dead Man’s Wire , Gus Van Sant’s return to true-crime filmmaking and a movie that’s at its most compelling when it sticks close to the ugly particulars of one man’s grievance, and most frustrating when it reshapes them into something smoother, safer, and less specific. The real Tony Kiritsis was a

Johannes Roberts’ Primate  is the kind of movie that knows exactly what aisle it lives in at the video store, and it has no interest in wandering elsewhere. This is not prestige horror, nor is it elevated, metaphor-forward genre filmmaking. This is a movie about a chimpanzee going feral and tearing people apart, and Roberts wastes very little time pretending otherwise. If you came looking for ape mayhem, Primate  is happy to take your money, pat you on the back, and point you