thriller
Unsane has been filmed with an iPhone, giving the picture a paranoia-fuelled low-fi fuzz. This is more than just a marketing gimmick, as Soderbergh’s film centers on the idea of stalking – a timely focal point considering the mass of sexual allegations that Hollywood has found itself mired in.
Dark River feels more like a transitional gateway to better films, bridging the gap between Clio Barnard’ older social realist efforts and flirtations with experimental works likely to come.
Clint Eastwood’s The 15:17 to Paris has been largely trashed by critics. However, the director’s latest film is one of the most formalistically radical films to emerge in recent memory.
While by no means without its faults, The Midnight Man, from director Travis Zariwny, is a good time horror film that fans of the genre will love.
While nowhere near the best picture of 2018, Fifty Shades Freed does prove itself to be a tantalizing, sultry, and seductive conclusion to the saga of Anastasia Steele and Christian Grey that is sure to satisfy fans.
The story of Braven may sound all-too-familiar, yet its wintry setting, inventive action sequences, and a strong presence by Jason Momoa and supporting cast help it to rise above many like-minded films.
The Cloverfield Paradox is helped along through a clever use of viral marketing, but it’s not enough to save an otherwise generic and messy sci-fi thriller.
With its sheer amount of ‘Straight to DVD’ film sensibilities, Den of Thieves is as generic as bank heist thrillers come, and at a bloated 2 and a half hour run-time as well.
Double Lover is a loving and surprisingly artful homage to the genre’s masters, equal parts a silly and stylish trashy erotic thriller with enough twists and turns to delight any mainstream audiences.
Small Town Crime delivers the goods with a layered story, enthralling mystery, classic and evocative but innovative action, and a cast and crew devoted to a singular artistic vision.
With a multitude of successful hits across television and film, Netflix misses a beat with their latest film The Open House, its convoluted story and under utilized characters causing the film to fall flat before it even begins.
A provoking film that resonates long after the credits have roles, The Strange Ones is an understated debut, with just enough external beauty and internal unease to keep us hopeful for their cinematic future.
Devil’s Gate frustratingly flirts with greatness- however, director Clay Staub’s genre mash-up is too uneven to sustain the entirety of its running time.
Proud Mary would be nothing special if it did not star Taraji P. Henson. But it does, and as a result it stands out like a beam of sunshine piercing the dull grey murk that is January at the movies.
Using acute, penetrating realism, a career-best performance from Wyle, powerful secondary performances from the actors, air-tight writing incorporating pressing themes, and an unpredictable ending, Shot overwhelmingly succeeds as both a film and a statement about our culture.