thriller
Carga is a gripping short film. Its marvellous build-up is ever so slightly hindered by a speedy conclusion—it’s a film you want to be longer.
Let Him Go is both a period piece — though set in the 1950s, not the Old West — and also a tale pregnant with grief.
Cindy Sibilsky interviews actress Juliet Landau for A Place Among the Dead, her feature film directorial debut.
Kindred features impressive performances from all actors, but the script lacks action.
Rebecca is not a bad or dull film, but it squanders the immense potential for something vital and thrilling in du Maurier’s tale.
The originality of I Blame Society is an exquisite example of how quickly the thin line between reality and art can blur.
Neither horrific nor revelatory, The Last Exorcist brings little new to the well-trod table despite its best of intentions.
Hannibal Rising poses the question about what kinds of monsters we make of ourselves by settling for the aesthetics of political virtue.
While it boasts gorgeous cinematography and framing, American Thief fails to find cohesion in its message and in its narrative.
Lapsis is topical, revolutionary, and maddening, encouraging viewers to think critically about the economic systems that govern their lives.
The Trial of the Chicago 7 has the potential to become a bona-fide crowdpleaser that will resonate with its target demographic.
Attack The Block from Joe Cornish remains a rare gem that challenges the audience just as much as it entertains.
The Devil All the Time is disturbing and unrelenting in its catharsis and its portrayal of the cycles of violence.
Fargo feels monotone as it’s too busy delivering speeches instead of creating compelling arguments about the timeless topics it wants to tackle.
The ghosts and ghouls are fun, but this is ultimately supposed to be an allegory for Taiwanese oppression, and on those grounds, Detention fails.
