thriller
Disappearance at Clifton Hill is at-times intriguing and often stylish, marred by its cliched insistence on making the audience question the authenticity.
Despite great moments of tension and a solid Joseph Gordon-Levitt performance, 7500 is a film of unfulfilled potential.
The Rental may lack a traditional killer, gore and even an ending but it’s a delicious tale of betrayal and paranoia.
Game of Death is a fun and gore-filled examination of horror and video game conventions that works well in its short runtime.
Dark demands patience and provoked tempting reflection on fate, it’s final season feeling organic and giving the send-off it deserves.
Guillaume Pierret’s Lost Bullet is a wannabe Mad Max that takes in pride in flaunting its no-nonsense action movie tag.
At the center of Woo Min-ho’s The Man Standing Next lies a political scandal that has puzzled historians for decades.
The films of John Singleton have provided thought-provoking stories, honest characters, and imagery that lingers well past each viewing.
Kontroll may be subterranea, but it should remind us to keep close watch over the politics of our own transition now.
Audiences are well-endowed with a suspension of disbelief, and we deserve nostalgic, beautiful, happy stories Like The Handmaiden.
Lee Jutton spoke with Agnieszka Holland about her film Mr. Jones, the most surprising thing she learned while making the film, and the role of journalism in keeping democracy alive today.
Mr. Jones highlights the need for investigative journalism even in a world where hard evidence can be met with accusations of untruth.
Few directors have a filmography as unique as George Miller, who has the power to create moments that’ll be ingrained in your mind forever.
On paper, HBO’s newest comedy Run looks like the perfect romance fantasy. But in the end, Run feels more like a failed attempt.
Shirley, as a story, can be unpacked in layers and layers and layers. It’s elegantly built and complex in its structure.