Stunning visual effects, a thumping NIN score — and some Depeche Mode jokes are enough to keep this sequel entertaining.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
All in Sci-fi
Stunning visual effects, a thumping NIN score — and some Depeche Mode jokes are enough to keep this sequel entertaining.
David Cronenberg’s potential swan song is also his best film since “Eastern Promises.”
Bong Joon-ho’s first misfire still packs plenty of creativity and political satire.
Director Wes Ball improbably delivers the series’ best installment since 2011.
Writer/director Jane Schoenbrun seems more interested in creating a relatable, nostalgia-rich world than filling it with much in the way of substance.
Quick takes on four recent mainstream titles.
A huge step back from the excellent Part One, this sloppy follow-up barely feels like a Denis Villeneuve film.
This prequel is the best film in the series — but that’s still not saying much.
Gareth Edwards’ sci-fi epic lacks the content to match its technical elements.
Wes Anderson sticks the landing on his most ambitious narrative yet.
Ben Affleck and Robert Rodriguez achieve new career lows with this astonishing failure.
Brandon Cronenberg’s latest mindf*#& is visually creative but narratively messy.
Like its predecessor, James Cameron’s return to Pandora isn’t a movie — it’s a technology showcase.
Short takes on “Fire of Love,” “Prey,” “Marcel the Shell with Shoes On,” “The Gray Man,” “RRR,” “Vengeance,” and “Mrs. Harris Goes to Paris.”
Jordan Peele’s latest winner adds a command of spectacle to his already impressive filmmaker toolbox.
David Cronenberg’s latest body horror film is merely weird for weird’s sake.
