The game’s narrative doesn’t support the 10 hours that it takes to complete.
The film provides Anderson with a sturdy canvas for his unique brand of gaudy, campy cool.
After a while, the film’s bleak atmosphere becomes more grating than unsettling.
Civilization VII too often feels like a game that’s engaging in spite of itself.
This anodyne series works awfully hard to drain itself of context and specificity.
Lost Records: Bloom & Rage is a bold assertion of trust in the audience.
Would that Rounding’s story were as memorable as its sense of detail.
From the start, the film stokes tension with its peculiar sense of atmosphere.
The Stone of Madness is cleverly attuned to perseverance through incremental progress.
Yamada’s animated film suggests great depths through withholding.
Michiel Blanchart’s thriller proceeds with little to distinguish it from its contemporaries.
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.