Like many horror films, Know Fear begins with a house – a house with a dark past. Shortly after Wendy (Amy Carlson) and Donald (David Alan Basche) move into the house, Wendy begins experiencing strange sensations that overwhelm her. The family learns that Wendy has been possessed by a demon, and the only way to save her is to use a book to enact a ritual that will allow different members of the family to…
At a time when drag has made its way into mainstream media (thanks, in no small part, to the Emmy winning reality television show Ru Paul’s Drag Race), Jump, Darling stands as a much-needed antidote to the commodification of an art form that was created by and for queer and trans people. It isn’t a bad thing that straight folks these days know what a death drop is, but at times it does feel as…
Directed by Phillip Noyce (Patriot Games, The Bone Collector, Rabbit-Proof Fence), Above Suspicion is a fast-paced thriller based on the true story of a young Kentucky woman, Susan Smith (Emilia Clark), who becomes an up-and-coming FBI agent’s star informant.
The World to Come, the second feature from Norwegian filmmaker Mona Fastvold (The Sleepwalker), is a plodding meditation on love and grief that is salvaged from mediocrity by the palpable chemistry between its lead actors. Still, the film doesn’t offer much that is fresh of exciting and rehashes some tired lesbian period piece tropes.
The Sinners is a messy blend of gothic teen-thriller and slasher horror that bites off more than it can chew with a convoluted plot and a cringe-worthy narrator.
Written by Justin Benson and directed by Benson and Aaron Moorhead, Synchronic is the filmmakers’ follow-up to 2017’s The Endless and boasts the same brand of trippy, time-travelling science fiction.
Written and directed by Victor Neumark, First Blush is the story of a young married couple, Nena (Rachel Alig) and Drew (Ryan Caraway), who decide to open up their relationship after they meet a beautiful young actress named Olivia (Kate Beecroft). For a feature film debut, First Blush is passable and hints at Neumark’s talent for exploring complex interpersonal dynamics. However, as a depiction of polyamory, it misses the mark.
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.
While catching the latest movie may have been a low priority in 2020, the compromised release schedule still offered a particularly unique experience for viewers. Films relied, more than ever, on word-of-mouth which allowed smaller films to ride the same wave as at-home blockbusters; continuing the unpredictable boom of the streaming market.
