The film suggests a gene splice of Jennifer Kent’s The Babadook and Mike Flanagan’s Before I Wake.
Throughout, Remi Weekes forcefully, resonantly ties the film’s terror to the inner turmoil of his characters.
The good horror film insists on the humanity that’s inextinguishable even by severe atrocity.
This is a sleeker-looking vehicle that’s eager to be scary but not comfortable being ugly.
Too often, the film teases big, wild comedic set pieces that end up deflating almost instantly.
Nayman’s discussion of Anderson’s ellipses implicitly cuts to the heart of why some critics and audiences resist Anderson’s work.
It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro.
About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes.
Darius Marder’s film captures, with urgency and tenderness, just how enticing the residue of the past can be.
The film’s purposeful archness challenges the sentimentality that marks many a film and real-life ceremony.
David Freyne manages to indict the societal expectation of heterosexuality as a traumatizing force while also humanizing its straight victims.
The film has an exciting, lived-in quality that elevates what are otherwise some markedly unsteady attempts at horror.
Bradley discusses how the forces of collaboration and intuition inform her filmmaking process.
The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
The documentary adroitly demonstrates that Fisk is still motivated by the boyish curiosity that drew him to journalism.
These are the films from this millennium that have most shocked us by plumbing our deepest primordial terrors.
The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
The filmmaker discusses how Shithouse reflects the specifics of a certain life experience.