Boarding School follows in suit with the continued reinvigoration of the horror genre, breaking away from the cliché and introducing new scares.
Alex Lines recaps some of the films he was able to see at the CinefestOz 2018 Film Festival in southern Western Australia: Jirga, 1% and The Merger.
A striking cautionary tale with authentic performances, Searching is a small thriller whose computer-screen gimmick actually elevates its subject matter.
We break down the career of Winona Ryder, showcasing her talent for the horror genre and more over her 30+ years in front of the camera.
Sharp Objects’ powerful series finale is a masterful instance of persistent hard work and a careful attention to detail paying off.
It almost feels as though “The High Cost of Loathing” should have been The Venture Bros.’ season premiere, with the previous three episodes being a self contained trilogy.
The Little Stranger is a demanding but absorbing thriller – it will not spoon feed you scares, and it’s all the better for it.
Blue Iguana is a fun throwback to 80’s action crime movies, aided by fantastic performances and a punchy script.
Returning on October 5th is The Man In The High Castle, after ending its 2nd season on a big WTF moment.
Bonding creates thoughtful and memorable characters and showcases their work in a positive light leading towards self-discovery and the building of relationships, both romantic and platonic.
Five Fingers for Marseilles is sporadically entertaining while watching, but devoid of the food for thought a film with this subject matter urgently needs.
We spoke with Sir Ben Kingsley about his latest film Operation Finale, taking on the portrayal of a Nazi official and his continued work to keep the memory of the Holocaust alive.
Instead of living up to its Godard and Whedon-esque aspirations, Blood Fest shoots itself in the foot, delivering cliche after cliche in a formulaic, hopelessly grating package.
In What Men Want, a woman (Taraji P. Henson) is boxed out by the male sports agents in her profession, but gains an unexpected edge over them when she develops the ability to hear their thoughts.
We spoke with Ása Helga Hjörleifsdóttir about her directorial debut, The Swan, and discussed its darker scenes.