Kiyoshi Kurosawa’s influence runs quietly but deeply through modern cinema. Directors like Martin Scorsese, Bong Joon-ho, and Ari Aster have all admired and been inspired by his uniquely unsettling, existential, and unforgettable horror films. Kurosawa doesn’t make typical horror. The Japanese filmmaker crafts slow-burning nightmares and stories where
Listen and follow the podcast on Apple, Spotify, and YouTube. We kick off the pod with The Toxic Avenger Unrated, a reboot that shouldn’t work but somehow mostly does. Mikal Boyd joins Mike from Glitch Film in the studio during release week to tear into it. Check out our
The original Toxic Avenger—that crass, no-budget, paint-fume-fueled exploitation flick from the '70s—earned its cult status the hard way: by being completely unhinged. It was proudly grotesque, gleefully stupid, and, somehow, pretty damn charming. Naturally, it spawned sequels, cartoons, comics, and a rabid fanbase, but it never really
The funniest comedy in theaters right now isn’t a raunchy studio flick with Liam Neeson trading barbs with Pamela Anderson between dick and fart jokes. It’s a small, largely unseen indie farce co-created by two relative unknowns in collaboration with one of Hollywood’s biggest stars. This is
This is a tough time we’re living through. The Coen Brothers have broken up. And while I’ve got nothing against great filmmakers following their own paths — even when that means ditching long-standing creative partnerships — I have to be honest: Joel and Ethan Coen were simply better together than
Spike Lee is back. The great New York filmmaker's latest, Highest 2 Lowest, is in theaters now. And I have to tell you, this is a capital M Movie. It's big, it's bold, it's flashy, it's unapologetically maximalist filmmaking, and
Craig Waterman, the lead character in the new comedy Friendship, is extremely awkward, wildly insecure, and played by Tim Robinson as if he’s trying to suppress a panic attack that’s been running for 20 years. Watching Craig try to connect with other people for ninety minutes is excruciating.
Let’s skip the usual postmortem of Marvel’s recent slump. We’ve all seen the disappointing projects, the slow bleed from box office royalty to “I'll watch that for free on Disney+.” What matters now is this: Thunderbolts*, Marvel's latest superhero team-up movie, is good.
I wanted to love Scott Derrickson’s The Gorge, streaming now on Apple TV+. On paper, this is my kind of movie: A high-concept sci-fi action spectacle with a big mystery and a doomed romance at its center. Exactly the kind of swing-for-the-fences genre flick that, when done right, hits.
A great thriller can't skimp on these few essentials: compelling characters, escalating stakes, surprise twists, and unrelenting suspense. Companion delivers all of that, and then some. Drew Hancock’s feature debut is one of the most confident, propulsive, and deceptively sharp genre films of the year so far.
Steven Soderbergh’s Presence is one of the most gripping cinematic experiences I’ve had in a long time. Soderbergh, who hilariously announced his retirement a decade ago, has spent the last few years directing everything from the 2018 iPhone-shot experiment Unsane to star-packed Hollywood thrillers like Black Bag, slated
I love werewolf movies, and Leigh Whannell, the inventive mind behind Upgrade and The Invisible Man, seemed like the perfect filmmaker to breathe new life into the subgenre. His latest, Wolf Man, Blumhouse’s first horror release of 2025, arrives with promising ambitions, two strong lead actors, and a fresh