revenge

REVENGE: A Dish Best Served Feminine
REVENGE: A Dish Best Served Feminine

It may sound like exploitative torture porn, but Revenge introduces director Coralie Fargeat as a filmmaker worth your attention – taking problematic genre tropes and subverting them into a vital, exhilarating feminist film.

FLOWER: Zoey Deutch Blossoms as a Teen Vigilante
FLOWER: Zoey Deutch Blossoms As A Teen Vigilante

While tiptoeing on the line of empowering and exploitative, Flower is an unconventional teen film for a new generation that finds its true strength in in its leading lady Zoey Deutch.

DEATH WISH: A Poorly Timed, Generic Remake
DEATH WISH: A Poorly Timed, Generic Remake

Death Wish is a victim of poor timing due to current public sentiment in regards to guns and violence, but its generic revenge story and wasted cast don’t much help matters either.

GET OUT: A Deeper Examination of Injustice
GET OUT: A Deeper Examination of Injustice

With all its success over the year and its deep political, racial and socio-economical undertones, and Oscars just around the corner, it seemed an appropriate time to dive back into the horror that is Get Out.

IN THE FADE: Diane Kruger’s Descent Into Darkness
IN THE FADE: Diane Kruger’s Descent Into Darkness

Diane Kruger carries In the Fade on her leather-clad shoulders and ensures that you’ll walk away from the film feeling absolutely rattled.

Interview With Sean Meehan, Director Of LOST FACE
Interview With Sean Meehan, Director Of LOST FACE

We spoke with Sean Meehan, director of short film Lost Face, based on a Jack London short story, set in frozen mid-1800’s Russian-America.

THE KILLING OF A SACRED DEER: Sadistic, Deranged, Masterful
THE KILLING OF A SACRED DEER: Sadistic, Deranged, Masterful

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.

YOU WERE NEVER REALLY HERE: A Hallucinatory, Horrifying Masterpiece
YOU WERE NEVER REALLY HERE: A Hallucinatory, Horrifying Masterpiece

You Were Never Really Here is a rare film that is conclusive proof that a great director can elevate familiar source material.

CRASH PAD: A Strange Choice For Domhnall Gleeson
CRASH PAD: A Strange Choice For Domhnall Gleeson

While neither boring or a laugh-riot, Crash Pad is a perfectly fine and forgettable way to pass ninety minutes.

THE FOREIGNER: A Dark & Offbeat Vehicle For Superstar Jackie Chan
THE FOREIGNER: A Dark & Offbeat Vehicle For Superstar Jackie Chan

Jackie Chan is in peak form in The Foreigner, and handily wins you over despite the film’s dated source material.

AMERICAN ASSASSIN: Disposable Action-Thriller Fun
AMERICAN ASSASSIN: Disposable Action-Thriller Fun

While not as memorable as other spy-thrillers, American Assassin is entertaining and solid enough with high intensity and relentless action.

THE VILLAINESS: The Action Is First
THE VILLAINESS: The Action Is First

With strong performances and flawless filming, The Villainess briefly losses its identity before concluding with a stunning finish.

CARDINALS: Sin & Sorrow In Small-Town Canada
CARDINALS: Sin & Sorrow In Small-Town Canada (#TIFF)

Cardinals is a tense and subtly effective thriller set in small-town Canada, bolstered by strong performances and complex themes.

ONCE UPON A TIME IN VENICE: Tonally Contrasted And Tiredly Contrived
ONCE UPON A TIME IN VENICE: Tonally Contrasted & Tiredly Contrived

Once Upon A Time In Venice is clearly a film made by cinephiles, but the scattered subplots and underdeveloped characters combine for an overall misfire.

FIGHTING BELLE: More Cringeworthy Than Being Left At The Altar

Fighting Belle initially seems to have potential as a unique and inspirational revenge story, but it ultimately feels cringeworthy instead.