thriller
Boss Level might not break new ground, but it’s throughly entertaining and worth watching at least once, if not time and time again.
Though bloated at times, The Sinners is a deeply layered and nuanced film that finds as much strength in what is not discussed as in what is.
The Horrific Inguiry column takes a look at the Universal Monster film Frankenstein (1931) and its legacy within film history.
What we’re given is far more surface-level than it should be, and unfortunately doesn’t add as much to the conversation as it perhaps thinks it does.
I Care A Lot suffers from a tonal shift, is still prevalent enough that the film is entertaining and enlightening all the way through.
The Vigil finds success in its intricate and delicate layering of its narrative, giving time for viewers to digest each tidbit given.
The Columnist is an effective thriller about one woman’s revenge against her online abusers, but it lacks deeper meaning.
While Alice Fades Away maintains your attention, there is a certain spark missing throughout its core, leaving it enjoyable but far from memorable.
With a lack of investment in its central character and a lackluster execution, The Night is a film not likely to see the dawn.
There are few surprises to be had in Fatale, a film bloated with talent but which lacks the chops to make good use of it.
Far from the best horror film, and far from the best slasher, there is something classically endearing about My Bloody Valentine.
4×4 is a broodingly effective thriller set in the crime-riddled streets of Argentina, with poignant thoughtfulness for the characters involved.
Kristy Strouse reviews the campy action fantasy, Prisoners of the Ghostland, and spoke with star Bill Moseley.
The Little Things wants to be a movie absorbed in its meticulous clues and details, yet stumbles over itself at nearly every possible moment.
From adult animation about cryptids to thrillers, in her first report from The 2021 Sundance Film Festival Kristy Strouse gives us her first three reviews.
