thriller
Most Likely to Murder may not reinvent the wheel of holiday films, but its subversion of the genre, especially its willingness to fully indict and satirize its own protagonist, gives us ample reason to invest interest in the future of director Dan Gregor’s filmography.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.
We spoke with Anders Walter about the making of I Kill Giants, what draws him to the intersection of fantasy and death in storytelling, directing a phenomenal, female-led cast, and what he’s looking forward to in his career.
Midnighters doesn’t ask too much from the audience. Respectfully, it knows what it is: a popcorn thriller with style and a bit of substance, enjoyable for anyone who likes a thriller in the Hitchc*ckian vein.
Even though it promises a scary journey, Against the Night fails on all levels. The poorness of its plot, direction, and performances make this already short film more unbearable than it ought to be.
With potent acting by Whitaker and Bana, relevant social commentary, adept writing and direction, The Forgiven succeeds as a biopic, albeit not Joffé’s finest effort.
Red Sparrow is solidly engaging, a blistering and intense film with Jennifer Lawrence’s skill and Francis Lawrence’s well-crafted atmosphere.
Watching Thoroughbreds, one is fully aware of the debt it owes to the similar films that came before it. But that doesn’t make it any less enjoyable to watch. Female friendship has never looked so deliciously dangerous.
Lead by a powerhouse cast and brilliant directorial debut, Allure challenges and leaves a significant trail of destruction in its wake.
Despite a hopeful change of pace for Jim Carrey, Dark Crimes doesn’t deliver, suffering from choppy editing, a lack of dynamic characters, and a generic murder mystery story.
The screenplays of A History of Violence and Rambo: First Blood share similarities in their stories, such as centering on violent men who are confronted by their past, and how each of them deal with this collision of their two worlds.
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.
Predictable and boring, Leatherface fails to give viewers and fans of the franchise a gripping, riveting, startling movie on how a serial killer family is born.
Looking Glass wastes its talented cast on poor writing filled with cliché after cliché, an odd and uninviting artistic vision from the ground up, and an overabundance of narratives and plot devices.
Mute is riddled with unoriginal elements, from the Blade Runner inspired visuals to the generic missing persons story, to the underdeveloped characters; it is a misfire on all accounts.