Director Nia DaCosta’s contemporary Candyman sequel makes a beeline toward powerful and poignant social commentary, sometimes at the cost of coherency, yet the scares are consistently at a buzz.
7.5 out of 12 Tamales
Director Nia DaCosta’s contemporary Candyman sequel makes a beeline toward powerful and poignant social commentary, sometimes at the cost of coherency, yet the scares are consistently at a buzz.
7.5 out of 12 Tamales
Old offers up enough of M. Night Shyamalan’s usual intrigue to keep its audience from feeling like they’ve wasted too much of their life waiting for the twist ending.
6.5 out of 12 Tamales
An intense opening ten minutes and a thrilling finale dynamically bookend A Quiet Place II’s somewhat white-noise middle.
9 out of 12 Tamales
There’s enough novelty and nostalgia in this update of 1992’s Pet Sematary to forgive its reliance on cloying, overproduced scenes.
7 out of 12 Tamales
Us, more entertaining than insightful, works well at the horror genre level, but it’s not the profound social mouthpiece Get Out is—yet you can’t help but admire director Jordan Peele’s chaotic effort.
9 out of 12 Tamales
The strongest emotions Greta builds are not terror or suspense but frustration and consternation for the characters’ lack of basic logic and intuition—yet you can’t help taking a liking to Isabelle Huppert’s take on Greta Hedig.
5.5 out of 12 Tamales
Escape Room squanders a solid horror premise and fills its problematic screenplay with listless caricatures who make you root for their inevitable demise.
4.5 out of 12 Tamales
Rewarding viewers for staying with its clever—if overstuffed—jigsaw plot, Hill House scares as much as it entertains.
8.5 out of 12 Tamales
Overlord, directed with frenetic energy by Julius Avery, is a Molotov cocktail of historical fiction meets zombies worth chugging.
10 out of 12 Tamales
28 Days Later’s realistic what-if-the-zombie-apocalypse-came-to-fruition depiction gives this pièce de résistance of a horror film a surprisingly human edge.
11 out of 12 Tamales