Part slasher horror, part autofiction, Bret Easton Ellis’s first novel since 2010 is also his most personal.

The abyss stares back at the reader in the long-awaited follow-ups to The Road.

David Cronenberg attempts to glimpse into the simultaneous self-destruction and rebirth of our species with Crimes of the Future.

Dark and darkly funny, Todd Field’s latest film is a thrilling study of a character at the mercy of her own excellence.

The acclaimed HBO series was cancelled right when we need it most.

Severance and Pantheon reveal the ways our humanity can disappear amid the convergence of money and information.

The four-decade Halloween franchise is filled with death, rebirths, reboots, and repetition. Does it end with Halloween Ends?

When it comes to modern literary criticism, bad practice is best practice.

Electric Dreams faltered in capturing the speculative brilliance of Philip K. Dick in favor of standard sci-fi clichés that may have been cutting-edge in the mid-twentieth century when the original stories were written.

Olivia Wilde’s second film Don’t Worry Darling suffers from an inability to deal with the past and with people it doesn’t understand with anything other than contempt.

Internet-born analog horror intensifies the uncanny with familiar, obsolete media.

Industrial modernity is J.R.R. Tolkien’s arch-nemesis, but his work might contain unexpected forgiveness for the juggernaut of late-capitalism wresting his world.