thriller
Possum is an impressively chilling debut from Holness and credit must go to the director for taking a risk on a darker affair.
22 July begins as an urgent and devastating film, before suddenly turning into a never-ending slog, destined to leave viewers wondering where things went wrong.
While the film possesses a level of craft and passion that cannot be ignored, Await Further Instructions is missing something vital: originality.
If you’re a fan or a newbie or just someone looking for a bloodbath of an action movie, move The Night Comes for Us to the very, very top of your list.
What makes Nigerian Prince stand apart from the cavalcade of other crime thrillers cribbed straight out of the Guy Ritchie handbook is its Nigerian setting.
London Fields feels like it’s trying to accomplish too much, and as a result, accomplishes very little.
Soul to Keep is a horror tale about sadistic ritualism that, whilst having its heart in the right place, struggles to break free from the shackles of genre conformity.
We spoke with Joe Penna, director of the upcoming survival film starring Mads Mikkelsen called Arctic, about shooting in island and his transition from Youtube.
I Still See You is another entry to the endless array of young adult fare, and it’s a near flop that doesn’t look to be boundary-defying, instead playing it safe.
On the performances alone, Bad Times at the El Royale is worth your time and money, lending itself to justifiable reasons to revisit for multiple viewings.
We were able to speak with Richard Harmon, star of the supernatural thriller I Still See You, about his interpretation of the story, advice for others coming into the industry, and more!
An overlooked film at the time of its release, Miracle Mile looks at the Cold War when it was waning, examining the destruction man is capable of when he thinks the end is near.
Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.