In general, the horror anthology is a devastatingly underrated genre. Brian and Jocelyn Rish’s Grave Intentions is a great example of how entertaining this format can be when done right.
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Painkiller is more of a mouthpiece than a movie. The filmmakers are so excited by the film’s premise, that they would rather table action sequences and tense showdowns to have discussions about Big Pharma and the opioid epidemic it seems to be encouraging. I admire their enthusiasm, but this attitude has distracted them from making a good movie.
I can’t endorse Paradise Cove, but I also wouldn’t stop you from watching this trashy thriller about a homeless former model terrorizing a couple of homeowners who are new to the neighbourhood. Before the film becomes unforgivably dumb, it’s a shameless guilty pleasure.
If you’re looking for a movie that’s going to scare the pants off of you, Mauro Iván Ojeda’s The Funeral Home isn’t it. Only the most sensitive and lily-livered viewers will be genuinely frightened by this Argentinian tale of hauntings and family drama. But what it lacks in terror, The Funeral Home makes up for in moderately creepy weirdness and old-school, vintage visuals.
By: Trevor Chartrand The poor, misguided filmmakers behind Up on the Glass use this film as an opportunity to show off amateur movie-making skills at their most mundane. The entire execution of this motion picture – from the script, to the cast, to the camerawork, and beyond – is a masterpiece of dull.
There is nothing charming, insightful, or engaging about The Departure, writer/director Merland Hoxha’s first foray into feature-ish length cinema (the total runtime is just a little over an hour).
By: Jolie Featherstone If Alice in Wonderland was a tarot card, its inverse would be The Dinner Party.
Director, writer, and star Frederick Keeve demonstrates a strong imagination but a weak sense of dramatic ability in his feature The Accompanist, a story about a gay piano accompanist who becomes infatuated with a male ballerina amidst a series of tragedies that befall both men.
Abominable (not to be confused with last year’s animated film) is a film that I know I’m going to watch more than once, but that isn’t to say it’s good.
Meet London Logo (Julia Faye West), an arrogant heiress who has somehow found fame for being present. At one time, her elegance was popular. But now, she clings on to any shred of attention by releasing music, an autobiography, and rebooting an on-air partnership with partygoer Rochelle Ritzy (Shelli Boone). The pressure for relevance stems from her fear of being pushed out by trendy, big-bootied celebrity, Kristy Kim (Candace Kita). As journalist Diana Smelt-Marlin (Kate…