Meg 2 is well served by deliriously dialing up the camp factor.
The filmmaker discusses shooting the film in the midst of the Covid pandemic, and his belief in why stories come from within us.
Ben Wheatley’s In the Earth feels like a palate cleanser for the English filmmaker.
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.
Ben Wheatley’s Free Fire reduces the modus operandi of the action movie down to its starkest elements.
Its self-consciously witty dialogue is meant to paper over gratuitous violence with a veneer of nonchalance.
The film’s notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
Regarding national cinemas, each section skews heavily toward filmmakers from either Europe or the United States.
Ben Wheatley’s film is a reckless combination of period piece, war drama, broad comedy, psychedelic fever dream, and occult horror-scape.
Wheatley’s film gets a perfectly acceptable DVD transfer, as well as some insightful interview-based extras.
A sardonic depiction of Britain as a land where a thin veneer of strained politesse masks a throbbing heart of darkness.
The horror anthology’s finest entries convey how real horror comes in more than shades of red, and how it lives inside us all.
The film only seems remotely conventional next to Kill List’s structural radicalism and galling aesthetic shifts.
A confounding, divisive, but ultimately staggering vision, Kill List gets a sterling Blu-ray transfer from MPI.
There’s an old joke, generally attributed to software engineers, in which one excuses a program’s bugs by spinning them as features.
Green contains enough skill and vision to suggest possible triumphs ahead.
Wheatley’s film follows up a strong first half with a rather less productive second act.