mystery
Despite a hopeful change of pace for Jim Carrey, Dark Crimes doesn’t deliver, suffering from choppy editing, a lack of dynamic characters, and a generic murder mystery story.
The screenplays of A History of Violence and Rambo: First Blood share similarities in their stories, such as centering on violent men who are confronted by their past, and how each of them deal with this collision of their two worlds.
Chen Sicheng’s Detective Chinatown 2 is a manic pop-fuelled explosion of fast-paced crime-solving, fringe supernatural developments and a brash indulgence in outdated stereotypes.
Game Night is a visually memorable comedy, standing out by masterfully blending the absurdity of its comedy and the realistic problems of its central characters.
Mute is riddled with unoriginal elements, from the Blade Runner inspired visuals to the generic missing persons story, to the underdeveloped characters; it is a misfire on all accounts.
Dark River feels more like a transitional gateway to better films, bridging the gap between Clio Barnard’ older social realist efforts and flirtations with experimental works likely to come.
The accomplished acting, stunning cinematography, and solid direction keeps Rift constantly engaging and steeped with talent, absolving it of its genre short-comings.
Small Town Crime delivers the goods with a layered story, enthralling mystery, classic and evocative but innovative action, and a cast and crew devoted to a singular artistic vision.
A provoking film that resonates long after the credits have roles, The Strange Ones is an understated debut, with just enough external beauty and internal unease to keep us hopeful for their cinematic future.
Devil’s Gate frustratingly flirts with greatness- however, director Clay Staub’s genre mash-up is too uneven to sustain the entirety of its running time.
Desolation is a unique take on a traditional horror movie, bending genre conventions in to a unique (and thoroughly contemporary) nightmare.
Though containing some elegant set design and impressive cinematography, Murder on the Orient Express can’t quite intrigue you to the potential that it could’ve, due to underdeveloped characters and an anticlimactic final reveal.
The Killing of a Sacred Deer is an exploration of revenge and retribution, with one of the most brutal endings you will ever lay eyes on.
Crooked House was one of Agatha Christie’s best novels- so it’s a treat to finally see this subversive work translated to the big screen.
With a weak and unfocused plot, Todd Haynes’s Wonderstruck feels like a love letter that isn’t quite sure who it’s addressing.