After a long hiatus from making feature films, writer/director Ti West (The Sacrament, In a Valley of Violence) returns with a supremely entertaining horror flick titled X.
Following in similar footsteps as his previous feature Annihilation, Alex Garland’s Men offers an unsettling premise with visuals to match that are eventually hampered by an unnecessarily cryptic and complicated narrative.
Firestarter is not only a disappointment, it’s a strange disappointment. It promises to deliver on multiple levels and, yet, fails at every attempt. It’s billed as a horror, but it’s not scary. It’s billed as a thriller, but it doesn’t pull the viewer towards the edge of their seat. It’s also billed as a family drama and science fiction, which it certainly sports elements of, but neither genre is interesting or exciting in this movie….
Kicking Blood is a really goofy vampire flick, and I’m not sure how much if it is intentional. I was entertained nonetheless by Blaine Thurier’s film, even if it’s a bit of a buzzkill during the final third.
There’s a lot of ambiguity at foot in Jane Schoenbrun’s We’re All Going to the World’s Fair and, for some, the film will offer too many “inconclusive” story threads. However, that ambiguity is what makes Schoenbrun’s movie creepy and disturbing, and opens the film up to various discussions about selling your life to the Internet.
Heckle is a horror-thriller that isn’t scary or tense, and drags its feet.
Studio 666 is a lark, through and through.
The Cursed (formally titled Eight for Silver) is a morality tale of sorts. Writer/director Sean Ellis (Metro Manila) tells a disturbing story about how shameful decisions made by an older generation can haunt the next of kin.
By: Trevor Chartrand Short film writer/director Blake Ridder is on the right track with his feature-length debut Help, but the movie struggles to tell a cohesive story. This neat little thriller is tidy and simple, but ultimately falls apart during its goofy, over-the-top final act. While the film has some decent visuals and an acceptable sense of pacing and style, it’s hard to take the narrative seriously.
The most interesting thing about Marionette is the question it made me ask myself: if a generic movie is a functioning entry in its genre, should it receive a passing grade? I had just given Netflix’s bombastic blockbuster Red Notice a recommendation because of this same grading method. So, what’s preventing me from doing the same with Marionette?