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You Were Never Really Here is a rare film that is conclusive proof that a great director can elevate familiar source material.
Despite a strong premise, The Unraveling is a film that doesn’t quite go to that dark place that it should, with poor writing and acting.
Despite belonging in the overdone sub-genre of found footage, Hell House LLC manages to just stand out amongst the masses.
Happy Death Day is a fun slasher film that likens back to the slasher days of old, albeit with a Groundhog Day twist.
The Snowman, though with talent behind its production, ended up being an unfortunately jumbled and incoherent mess of a film.
Jackie Chan is in peak form in The Foreigner, and handily wins you over despite the film’s dated source material.
While not as memorable as other spy-thrillers, American Assassin is entertaining and solid enough with high intensity and relentless action.
Walking Out, by the Smith twins, is an unrelenting and beautifully shot story of a father and son surviving in the brutal Montana wilderness.
Mike Flanagan’s Gerald’s Game, though not quite as dark as its source material, still showcases his talent for immersive horror film-making.
At NYFF, the series calls Genre Stories contains a plethora of short films, from sci-fis to horror, and made from a diversity of backgrounds.
After spending three years in post-production purgatory, Friend Request arrives in US cinemas – and is certainly not worth the wait.
Blade Runner 2049 is a blockbuster with brains, heart and an abundance of style, that will certainly reward repeat viewings.
Brimstone had potential, but it is bogged down by its length and a desire to show an excessive amount of gratuitous violence against women.
You’ll find it hard to obey the rules of this film’s title when watching, as even the positive elements can’t stop Don’t Sleep being a slog.
The John Wick films pose challenging questions about the nature of violence and the type of men who are attracted to its endless cycle.