Some Other Woman
Some Other Woman doesn’t tell us much about its psychological thriller of suspicion and distrust, but the audience believes they’re witnessing a ritual.
Some Other Woman doesn’t tell us much about its psychological thriller of suspicion and distrust, but the audience believes they’re witnessing a ritual.
Suncoast has such sunny appeal for a movie about death. Maybe it’s the Floridian setting, maybe it’s because this dramedy skims the surface of its morose material. A case could also be made that Laura Chinn’s filmmaking debut is supposed to mirror the disconnected feelings of the story’s lead character, Doris.
How to Have Sex is either a cautionary tale or a party movie with a heart or, maybe, it’s both.
The comic insanity and absurdity of Hundreds of Beavers suggests that Mike Cheslik and Ryland Brickson Cole Tews, who last collaborated together on Lake Michigan Monster, are brimming with glee when making movies. With Cheslik directing, Tews starring, and both taking on writing duties, Hundreds of Beavers is a bonafide bonanza of hilarity that perfectly displays the comedic stylings of this trailblazing duo.
By: Trevor Chartrand Lonzo Nzekwe tells a very personal story in his gritty revenge-thriller, Orah. Having lost his brother at the hands of an alleged corrupt police officer in Nigeria, the filmmaker has admittedly helmed this movie as a sort-of revenge fantasy; with his characters exacting justice in ways he never could. As the film’s writer and director, Nzekwe’s ambitions are noble and empowering but, as a film, Orah is ultimately a messy series of…
Netflix’s animated Orion and the Dark may not be the streamer’s most memorable family film, and it isn’t one of the strongest adaptations of a children’s book, but its imagination can’t be ignored.
The Seeding may be the first great horror movie of the year and, yet, it’s a tough recommendation.
Lila Avilés’ Tótem, Mexico’s selection for Best International Feature Film at the 2023’s Academy Awards that didn’t make the cut, offers a unique fly-on-the-wall point-of-view on a typical family drama. The movie’s perspective commits to a cramped aspect ratio but doesn’t marry itself to a specific identity, giving the audience a true outsider’s view of a personal conflict they’re infringing on.