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Saint Maud (2019)
Rose Glass’s fiercely controlled debut turns religious certainty, loneliness and bodily discomfort into intimate psychological horror. Morfydd Clark’s unnervingly physical performance and the film’s suffocating atmosphere make its sparse story remarkably potent.
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The Invisible Man (2020)
Leigh Whannell transforms a familiar monster property into an intensely personal horror story about coercion and disbelief. Elisabeth Moss and the film’s weaponized empty space make this a gripping, unusually purposeful genre reinvention.
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Leave the World Behind (2023)
Sam Esmail’s apocalypse thriller turns technological collapse and social mistrust into gripping, visually audacious dread. Its blunt messaging and emotionally remote payoff hold it back, but the formidable ensemble and controlled paranoia earn a strong recommendation.
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Infinity Pool (2023)
Brandon Cronenberg’s resort nightmare has ferocious performances and strikingly tactile hallucinations, but its provocative escalation gradually blurs the class and identity critique. A memorable sensory assault that lands somewhere between compelling and exhausting.
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Free Guy (2021)
Free Guy has an appealing agency fable, lively game-world design and an engaging Jodie Comer, but relentless spectacle, clumsy exposition and corporate fan service keep this cheerful blockbuster stuck at an average score.
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Old (2021)
Old is an uneven but genuinely unnerving thriller that turns a sunny beach into an existential trap. Its roaming camera and accelerated-aging premise linger longer than the clunky dialogue and over-explained final stretch.
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Featured Stories
A hand-picked selection of reviews, guides, rankings, and features from around MovieBunker.

Saint Maud Review: Faith Becomes a Terrifying Need for Certainty
Rose Glass’s fiercely controlled debut traps us inside one woman’s search for absolute meaning, powered by Morfydd Clark’s unnerving performance.

The Invisible Man Review: Empty Space Becomes a Weapon
Leigh Whannell turns invisibility into the perfect weapon for an abuser, while Elisabeth Moss and weaponized empty space make this reinvention terrifyingly personal.

Leave the World Behind Review: Paranoia Is the Real Disaster
Sam Esmail’s apocalypse thriller turns technological collapse and social mistrust into gripping, visually audacious dread. Its blunt messaging and emotionally remote payoff hold it back, but the formidable ensemble and controlled paranoia earn a strong recommendation.

Infinity Pool Review: Privilege Becomes a Tactile Nightmare
Brandon Cronenberg’s resort nightmare combines fearless performances and tactile hallucinations with a class critique that loses focus as the degradation escalates.

Free Guy Review: A Charming NPC Trapped in a Noisy Blockbuster
Free Guy has charm, a clever agency fable and an excellent Jodie Comer, but its best ideas get buried beneath exposition, noise and corporate winks.

Old Review: The Beach Is Scarier Than the Answers
M. Night Shyamalan turns a tropical beach into an existential trap in Old, an uneven but memorable thriller whose images are stronger than its explanations.
Popular in the Bunker
Some movies disappear after opening weekend. Others give us something to argue about for years.
Use this space for four strong evergreen stories from the archive — franchise rankings, major retrospectives, popular reviews, or especially useful what-to-watch guides.
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From entire franchises to overlooked favorites, we sort through the movies and make the case for where each one belongs.
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