As the new film “Day Shift” proves mixing the horror genre with action is tough. Adding in comedy is even harder.

Director J.J. Perry’s feature length debut doesn’t always hit its mark but entertains nonetheless thanks to a focused first half and a good cast.

Less a pure Horror effort and more of an amusement park ride, director Perry goes for the fun of it all.

As the opening of director Alex Pritz’s interesting new documentary “The Territory,” informs us, the Uru-eu-wau-wau people of Brazil were discovered by the country’s government in the eighties.

The area of Uru-Eu-Wau-Wau occupation went from the valleys of the Madeira (to the north), Machado (to the east), Guaporé (to the south) rivers and on to the Mamoré

Near the end of the new action headache “Bullet Train” a character is trying to stop the titular train as it speeds out of control. Desperately trying every switch and button he screams for the roaring machine to stop. 

After the first forty-five minutes of “Train” I wanted the same thing. 

“Bullet Train” is a live-action cartoon of violence and over-the-top madness

Released thirty-five years after John McTiernan’s “Predator” “Prey” by Dan Trachtenberg arrives as a most welcome gift.

I pray to the cinema gods every year in the hope that Hollywood will produce stronger and more interesting films, be they serious fare, comedy, or action, all I would like is quality productions with vision put into screenplay and design.

The strange casting of Juliette Binoche as an American truck driver is the jump-off point of the new film “Paradise Highway,” a thriller that is done in by underwhelming writing.

First-time feature filmmaker Anna Gutto (she also wrote the screenplay) creates some interesting and potentially tense situations but the actions of her characters prevent her from being able to bring it all home. 

You’ve already seen “Top Gun: Maverick” and “Jurassic World: Dominion,” so while you wait with baited breath for “Bullet Train” and “Avatar: The Way of Water,” you should seek out these four intriguing films, which, unlike the slam-boom-bang of the big-screen summer tentpoles (not that we don’t love them because we do!), might actually give you something to contemplate after the credits roll.

Jordan Peele’s “Nope” is one of the most inventive and entertaining genre films in years. 

In a sluggish cinematic year Peele has directed a film that is clever from scene to scene. There isn’t a moment where you take your eyes off of the screen.

Set in a vast and beautiful valley, Daniel Kaluuya plays OJ, a man doing his best to keep

What an amazing human is the former congresswoman from Arizona, who was shot in the head in 2011 and not only survived but has continued to serve the public. Though Gabby Giffords retired from the House after her near-fatal shooting by an angry and mentally unstable constituent, she somehow still maintains her smile, her poise, her good humor even when it would be more than understandable for her to have lost any of these.

John Michael McDonagh’s “The Forgiven” walks the ever-fine line between artful examination and utter monotony. Adapting Lawrence Osborne’s novel, McDonagh’s film takes place over one weekend in the High Atlas Mountains of Morocco and skewers the privilege of the wealthy and white.

David (Ralph Fiennes) and Jo (Jessica Chastain) are traveling to a party taking place in the Moroccan desert. Late, lost

Scott Derrickson’s “The Black Phone” continues 2022’s sad streak of being one of the most uninteresting years on record.

Based on an excellent short story from author Joe Hill (Stephen King’s son), director Derrickson and co-writer C. Robert Cargill adapted the creepy tale of a Colorado town plagued by a serial killer of children known as “The Grabber," so named