thriller
While underdeveloped and sluggish in approach, Phil Sheerin’s The Winter Lake is a sedate, rustic thriller examining familial complexities.
For the 60-year anniversary, Film Inquiry muses on Allen Baron’s noir film Blast of Silence and its existential prison of shadow and sound.
Wearing its influences on its sleeve and a love letter to horrors of the past, Awoken is a sharp little horror movie with bite and shocks.
We spoke with writer/director Jill Gevargizian and star Najarra Townsend for their amazing new horror: The Stylist.
The Stylist has everything one can want from a horror film; a talented female lead, lots of chills and bloody enticements, and a wickedly impressive style.
Boss Level might not break new ground, but it’s throughly entertaining and worth watching at least once, if not time and time again.
Though bloated at times, The Sinners is a deeply layered and nuanced film that finds as much strength in what is not discussed as in what is.
The Horrific Inguiry column takes a look at the Universal Monster film Frankenstein (1931) and its legacy within film history.
What we’re given is far more surface-level than it should be, and unfortunately doesn’t add as much to the conversation as it perhaps thinks it does.
I Care A Lot suffers from a tonal shift, is still prevalent enough that the film is entertaining and enlightening all the way through.
The Vigil finds success in its intricate and delicate layering of its narrative, giving time for viewers to digest each tidbit given.
The Columnist is an effective thriller about one woman’s revenge against her online abusers, but it lacks deeper meaning.
While Alice Fades Away maintains your attention, there is a certain spark missing throughout its core, leaving it enjoyable but far from memorable.
With a lack of investment in its central character and a lackluster execution, The Night is a film not likely to see the dawn.
There are few surprises to be had in Fatale, a film bloated with talent but which lacks the chops to make good use of it.