Author Peterson Hill

They Shall Not Grow Old is a painstaking restoration of footage from World War One to create a documentary that is without politics or propaganda.

To work, Velvet Buzzsaw needed to be 50% wilder and out of control.

So, what are we to make of Steven Knight’s newest film, Serenity?

Just two years later, we now have the arrival of Glass, which works simultaneously as a sequel to both Unbreakable and Split.

You Were Never Really Here takes the body of a story and whittles it down till there is barely a skeleton left.

Thrillers can follow a type of rigorous formality sometimes, even the finest ones rarely stray from the preordained path.

The opening shot to Outlaw King promises something that the script isn’t ready to provide.

Luca Guadagnino’s Suspiria is a confrontation, a bold and unsettling film that ultimately concaves upon itself by its own pretensions.

With his latest, Apostle, Evans keeps the practical effects and buries them in a sadistic occult update of the type if film that flourished in the 1970s.

In Jeremy Saulnier’s newest film Hold the Dark, Alaska exists as a force that has been embedded within the psyche of all the characters.

The Haunting of Hill House is a bold and exciting foray into madness, family estrangement, and extended personal struggles that feels like the singular vision of Mike Flanagan.

Brawl in Cell Block 99 is a bruising feast of depravity that has a core of hope to it.

Wheelman is the kind of B-movie that used to come on late night HBO.

This second season of the hit CW show, Riverdale, picks up almost exactly where season one left off.

Like Zodiac, Mindhunter has a nasty and bitter sense of humor to it.

Gerald’s Game is a perfect match of filmmaker to material.

In an age of what seems like unlimited prestige TV, the prospect of the contemporary updating of an outdated comic like Archie seems to be a precarious choice at the outset.

Christopher Nolan’s filmography is one of the most consistent and evocative canons in contemporary American cinema.

The opening shot of Matt Reeves’ Dawn of the Planet of the Apes is a close-up of Caesar’s face that slowly pans out to reveal the life the apes have created for themselves.

The Planet of the Apes franchise has always been a tragedy.