A surreal nostalgia trip with more camp than clarity, I Saw the TV Glow fumbles its message beneath clunky time jumps and characters that barely feel real—unless your life’s also scripted by late-night TV.

Imagine a film where the protagonist’s morning ritual involves jotting down “no change” in a logbook as she stares at a patch of flowers on a desolate island. Welcome to Enys Men, where monotony is both the villain and the star of the show.

What do you get when you mix guilt, ghosts, and an existential detective thriller? You get Kiyoshi Kurosawa’s “Retribution,” a film that’s less about solving crimes and more about unraveling the unsettling fabric of the human mind. Welcome to Tokyo, where crime doesn’t just stain your hands—it haunts your entire soul.

The Menu serves up a chilling, satirical feast that skewers elitist culture with masterful precision—where haute cuisine meets horror, and the joke’s on anyone who thought they’d survive dessert.

Beetlejuice Beetlejuice is a nostalgia-packed romp with classic Burton chaos and Keaton’s iconic ghostly antics, but it’s more a playful haunt than a groundbreaking return, delivering laughs with a side of déjà vu.

Disney’s Haunted Mansion (2023) has all the charm of a well-decorated Halloween bash—but with jokes that land flat and a tone that’s as wobbly as a ghost in need of a guiding light, it’s more forgettable than frightening.

Mia Goth shines as a gritty dreamer in MaXXXine, a wild, neon-drenched conclusion to Ti West’s horror trilogy that slices through Hollywood’s 1980s underbelly with a grim sense of humor—even if it sometimes gets lost in its own glitzy chaos.

Midsommar is a hauntingly beautiful dive into grief, rebirth, and ritualistic horror—a breakup movie taken to grotesque, daylight-drenched extremes.