This is a tremendous visceral experience, with radiant colors, slate-somber black-and-white, and geysers of crimson blood.

Hall and Gandersman reveal the limitations of so many “Blair Witch” pretenders through their ambition and unpredictability.

Stewart’s approach reflects not only her passion for the often complex material but her understanding of it.

The film does not posit excuses for violence, and neither should we, but instead it prompts reflections on where compassion and control are needed, and where the pursuit of them falters.

Sorrentino and cinematographer Daria D’Antonio color coordinate each and every frame to a fare-thee-well.

It’s a profoundly Catholic work.

A unique take on grief, containing insight into projection and transference.

Magic happens.

What’s funny in the writers’ room does not always work on screen.