psychological thriller
Horror films have trained us to expect the final girl, but Funny Games does not acknowledge this hope and desire for survival.
“Peeping Tom,” now known as a cult classic, is a thrilling examination of the dangers inherent in making and watching moving pictures.
Alice, Darling could do with some whittling down, but many of the details make the film a needed testament to an under-explored experience.
Burn is a stand-off between undeniable indie individualism and psycho-thriller, without a true path.
We take a look at John Brahms’ 1940s trilogy of psychological noir and how they help can help us predict and understand fascist ideology and the alt-right.
Meme can be a brilliant thriller when it wants to be, but there is a heck of a lot of philosophising bridging those tenser moments.
Everybody Knows may be a little overlong, but it’s frequently compelling due to a powerhouse performance by Penélope Cruz.
A Second Chance manages to pose a shocking moral quandary without falling into an academic exercise by grounding its characters in real feelings.
There are flashes of genuine artistic ingenuity in A or B, but not enough to cover the frequent amount of glaring plot holes, inconsistent character decisions and general implausibility of the whole scenario.
Despite strong leads and commendable technique, The Lullaby falls short of being a solid horror film due to its dull setting, convoluted story, and some unnecessary twists.
Annihilation is best viewed as a trip deep into an otherworldly house of horrors, offering a deliberately illogical twist on the formula of horror movie storytelling.
