‘Barbarian’ Review: Knock, Knock. Who’s There? A Ratched New Horror Classic

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between. Learn more at and follow her on , and .Nine of Wands: My dear Leo, October is going to challenge you deeply to let go of your pride.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between. Learn more at and follow her on , , and .Queen of Pentacles: Dear Taurus, the month of October is going to be filled with blessings that allow you to feel more rooted and grounded in your life choices.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between. Learn more at and follow her on , and .The World: My dearest Sagittarius, you are finally closing a lengthy chapter and giving yourself permission to do something big and bold to commemorate this change of pace.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between. Learn more at and follow her on , and .Four of Pentacles: My dear Pisces, October may feel frustrating to you if you’re not willing to open your heart up to new possibilities.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between. Learn more at and follow her on , and .Six of Swords: My water bearers, the month of October is going to be a month of letting go and breaking ties with a past version of yourself that you no longer resonate with.

Glamour’s or consult the other zodiac signs’ . Meghan Rose is a Los Angeles–based spiritual advisor, intuitive tarot card reader, and author whose work bridges the magical and the material to create real change. Rose acts as a guide for her clients to help them navigate relationships, career, and everything in between.

Ethan Shanfeld Can Zach Cregger’s slasher film “The Barbarian” scare up enough ticket sales to top the domestic box office? Though it is a quiet week, with only one other major release — the Indian Hindi-language action-adventure “Brahmastra Part One: Shiva” — the horror film edged out box office mainstays on Friday as “Top Gun: Maverick” and “Bullet Train” fought to retain their hold at the top of the charts. “Barbarian” took home $3.8 million on Friday, with a projected $9 million over the weekend. Trailing behind is “Brahmastra,” which opened with $2 million, a number that is estimated to grow to $3.6 million by Sunday.

SATURDAY AM UPDATE: With the exit of New Line’s adaptation of Stephen King’s Salem’s Lot in what has been a lucrative post Labor Day weekend pre-pandemic, Disney swooped in and booked its 20th Century Studios horror title Barbarian. That pic, directed and written by Zach Cregger, follows a woman staying at an Airbnb, who discovers that the house she has rented is not what it seems. The movie grossed $3.8M on Friday (including $850K Thursday night previews) and is poised to make around $9M, possibly double digits.

Peter Debruge Chief Film Critic It’s 2022, and a Hollywood studio has just made a movie in which two men fall in love and can’t figure out what to do about it. No one dies of AIDS. No one gets tire-ironed on the side of the road. Judd Apatow produced the thing, so you know it’s funny. And yet, somehow, “Bros” doesn’t feel like that big a deal. Sure, it’s a well-budgeted, wide-release, R-rated gay romcom, and that’s historic (if you put enough qualifying adjectives in front of it). But one of those had to come along sooner or later. Oddly, it feels like there already have been others, and there’s no question more are coming, considering how hard Hollywood has been working to include gay characters.

Peter Debruge Chief Film Critic “If we got rid of every gay man in the military, there would be no military,” a sympathetic officer tells Marine recruit Ellis French in “The Inspection.” That’s an exceptionally open-minded take on the United States’ “don’t ask, don’t tell” policy, seeing as how pretty much everyone else French encounters at boot camp is openly hostile to there being a gay man among them. But writer-director Elegance Bratton made it through the system — like the character, he’d been lost and homeless for a decade before enlisting — and this deeply personal narrative debut is one gay Black man’s way of showing how he not only survived the experience, but was strengthened by it. “The few, the proud,” as they say.

Peter Debruge Chief Film Critic You’ve heard the expression, “There are only nine meals between mankind and anarchy.” Well, “The Grab” makes the case that society had best brace itself for disorder, since certain parties are gobbling up the world’s food and water resources while the rest of us are distracted by other things. Produced in association with the Center for Investigative Reporting, “Blackfish” director Gabriela Cowperthwaite’s astonishing, eye-opening doc hits us with the idea that the next world war won’t be fought over ideology, oil or border disputes, but basic resources like meat, wheat and water, none of which should be taken for granted. Experts call this field “food security,” and the entire system is more fragile than it looks. World populations are climbing while water resources are dwindling, which has led countries such as Saudi Arabia and China to seek farmland on other continents. Among its myriad examples, “The Grab” focuses on a 15-square-mile expanse in La Paz, Ariz., an arid desert locale where there’s no limit to the amount of water landowners can pump from the aquifers. Arizona’s policy of unrestricted access means Saudi investors can legally tap into the water table to grow fields of hay, which will be shipped home to feed their cattle, even if it means draining the wells of local farmers in the process.

Peter Debruge Chief Film Critic At the end of “The Swimmers,” you could be excused for thinking that Syrian refugee Yusra Mardini won an Olympic gold medal. She didn’t. That’s not to detract from everything she and her older sister, Sara, went through to escape the Syrian civil war and reclaim their dreams of competitive swimming. It just means that director Sally El Hosaini and co-writer Jack Thorne didn’t know how else to wrap this inspirational true story, which is ideally suited for one of those 40-minute Oscar-grubbing documentary shorts but is stretched over three times that length (and then some) in this feel-good Toronto Film Fest opener. At a bloated 134 minutes, it’s not enough that co-leads (and real-life sisters) Nathalie and Manal Issa have great chemistry on-screen, or that the story reminds you of last year’s “Flee” and a dozen other true-life refugee stories. The gratuitous running time tells you something right off: There’s more than enough movie here even without the trip to the Rio Olympics, where Yusra placed 41st out of 45 in the 100-meter butterfly. But stretching it out this long is still liable to make your brain start to prune, the way fingers do when they spend too much time in water.

William Earl Zach Cregger has delivered one of the most twist-filled movies of the year with “Barbarian.” But perhaps the biggest shock to fans is that a member of irreverent sketch group Whitest Kids U’Know switched to horror so effortlessly. For Cregger, the two worlds are not far apart. “I don’t think horror and comedy are too dissimilar,” Cregger says. “The anatomy of a scare is very similar to the anatomy of a laugh. It’s all about timing and tone and zigging when the audience expects you to zag. I feel like my time in sketch comedy has equipped me to play in this pool.” Cregger got advice from a friend who had a similar trajectory: Jordan Peele, who went from sketch comedy series “Key & Peele” to directing his breakout feature “Get Out” and two other horror hits.

“Barbarian” is nasty. Whether you take that as a positive or a negative will be an entirely personal thing, but it’ll be a word that people on both sides of the opinion aisle will likely use to describe it.

Peter Debruge Chief Film Critic In early 2021, while Americans were focused on the transfer of power back home, daredevil director Matthew Heineman (“Cartel Land,” “City of Ghosts”) assembled a crew and flew to Afghanistan to check in on the status of America’s longest war. At that point, Osama bin Laden had been dead a decade, the Taliban was weakened but not defeated, and the U.S.-trained Afghan Army was holding its own fairly well — and yet, nearly 20 years in, there was still no end in sight for American involvement. That changed almost as soon as Heineman arrived, as the Biden administration made plans to pull out. In that moment, what might have been another business-as-usual desert war doc — with routine patrols, precisely targeted drone strikes and soldiers expressing their ennui — shifted to something audiences hadn’t seen before. The title, “Retrograde,” refers to the process by which military forces extricate themselves from conflict, removing or otherwise rendering useless the equipment they’d used to engage the enemy. For Heineman, that meant capturing all kinds of cinematic sights: A brawny soldier smashes a heap of computer monitors, helicopters airlift vehicles out, and things go boom as a team tosses all remaining ammo into a trench, douses it in gasoline and lights the pile with a well-aimed rocket. The Taliban won’t be using these bullets.

Peter Debruge Chief Film Critic Just how polished does a career-spanning documentary about the anarchic underground filmmaker behind “Greaser’s Palace” and “Putney Swope” need to be? If you’ve seen any of Robert Downey’s films, the answer is obviously: not very. You might even say, the scrappier the better. So goes the thinking behind “Sr.,” a loose seemingly seat-of-your-pants portrait of the antiestablishment director (perhaps best known for siring “Iron Man” star Robert Downey Jr.) that sneaks up on ya, emotionally speaking, seeing as how it doubles as a kind of farewell exercise between the two generations (plus grandson Exton) in the months before Downey succumbed to Parkinson’s Disease.

Peter Debruge Chief Film Critic Most of the time, documentaries don’t get sequels, which is strange. Unlike their scripted fiction counterparts, the story doesn’t end when the cameras stop rolling. If you’ve ever attended a filmmaker Q&A after the screening of a great documentary, you know the first question from the audience is almost inevitably either “What’s happened since?” or “Where are they now?” Bryan Fogel must have heard that more times than he can count in the five years since his game-changing Russian sports doping doc “Icarus” won the Academy Award. “Icarus: The Aftermath” is his response, a daring and sure-to-be-divisive movie that’s even more shocking than the 2017 original, even if the big news is already out of the bag.