mystery
Gridlock is a short film that manages to be tense, chilling, and gripping, with not a minute of its length wasted.
You Were Never Really Here is a rare film that is conclusive proof that a great director can elevate familiar source material.
Despite belonging in the overdone sub-genre of found footage, Hell House LLC manages to just stand out amongst the masses.
Happy Death Day is a fun slasher film that likens back to the slasher days of old, albeit with a Groundhog Day twist.
The Snowman, though with talent behind its production, ended up being an unfortunately jumbled and incoherent mess of a film.
Amir Bar-Lev’s 2007 documentary My Kid Could Paint That isn’t about the real life art world scandal; it’s an exploration of the author’s irrelevancy.
Surprisingly, Saw VI seems to have learned from previous entries; with a plot of its own, it manages to be the stand out of the franchise.
We analyze some of the interpretations of Twin Peaks: The Return, the dreamlike sequel series to David Lynch’s early ’90s TV show.
Blade Runner 2049 is a blockbuster with brains, heart and an abundance of style, that will certainly reward repeat viewings.
Darren Aronofsky’s Mother! is a unique and confusing experience that will stay with you, long after the film has ended.
Saw IV goes even bigger than its predecessors, but with the loss of the franchise’s main writer, the story loses much of its oomph.
Wind River is a haunting and wonderfully acted murder mystery that casts light on the inequality within Native American communities.
Is This Now is a perplexingly bad movie, rife with awkward tonal shifts, poor camerawork, unbelievable acting, and a very unfitting ending.
It’s not one of the horror greats that many people make it out to be, but Saw is crafty and ambitious enough to warrant a horror buff’s time.
In Megan Freels Johnston’s The Ice Cream Truck, sweet treats and sugary snacks are traded for bloodshed and suburban violence.