S.T.A.L.K.E.R. 2’s allegiance to hardship for the sake of hardship comes off as antagonistic.
Gints Zilbalodis’s animated feature is movingly attuned to its characters’ primal instincts.
It exhibits the most confident grasp of its own artistic sensibility this side of Paradise Killer.
In its second season, the series still lacks the specificity to distinguish its sci-fi drama.
The more lively and vibrant a vignette may be, the more details you have to parse.
Adam Elliot’s latest feature is an evocative feat of visual storytelling.
The film is a devious commentary on the all-too-human desire for easy explanations.
Natalie Erika James’s prequel engages with Rosemary’s Baby purely on franchise terms.
Judero is an often beautiful treatise on what humanity creates to understand the world.
The film is certainly chatty, yet it conveys so much through absence and suggestion.
The game delights in making you feel as though you’ve broken it wide open.
Wei has crafted a noir that rejects the more dramatic trappings of such stories.
Skotchdopole’s film is a tantalizing mix of the absurd and the mundane.
Thanks to its expert staging, the film doesn’t lose much in the way of immediacy.
Around the edges of the central relationship, Dandelion is disappointingly diffused.
The game diligently replicates an older, somewhat archaic style of role-playing.
For better and for worse, Crow Country goes down smoothly.
As Terrestrial Verses proceeds, it captures a steady hum of societal discontent.
The film is held together by the intensity of its haunted-looking cast and the dour atmosphere.
The film ably captures the energy of a quirky children’s book.