2010s
The third episode of Killing Eve gives us a little hope that maybe there’s still some part of the show that can have a lot of fun despite its dark and bloody premise.
Antrum: The Deadliest Film Ever Made is an entertaining, but largely empty exercise in metanarrative and nostalgia.
Carried by Idir Ben Addi’s brilliant performance, Young Ahmed is an intriguing character study of one young man’s fanaticism, though one is still left wanting something more.
The season three premiere of Killing Eve last week was quite a letdown. Not only…
Steam Room Stories: The Movie! is good, dumb, fun. Sometimes, that’s just what you need.
While it might sound dense and only appealing to a niche demographic, Ghani’s immersive record is a curiosity that will satisfy any inquiring cinematic mind.
Delightful as it is to see these familiar faces get back on our screen, Killing Eve’s third season opener was a bit formulaic and a little edgeless.
Selah and the Spades takes the traditional trappings of coming-of-age stories and views them through a filter of a calculated coldness.
Butt Boy premiered at Fantastic Fest, Austin’s other great film festival, where it was screened…
Whatever this monumental debacle was going for in the end, it failed majorly while managing to reference two far superior films in its title.
The Platform is intriguing enough to reel in viewers who aren’t there just for its depravity, but unfortunately it fumbles developing anything further.
Trixie Mattel: Moving Parts is a raw, at times agonising portrait of the contemporary reality show celebrity. Rafaela Sales Ross reviews.
Gavin Michael Booth faultlessly achieves the split-screen/single-take technique, while also exploring the matter of suicide with unadorned honesty.
The objective of Luca Guadagnino’s experimental short The Staggering Girl is up for debate, which won’t be a problem for long-time admirers of the auteur’s style or share the same inherent love for high fashion.
If you let yourself think about all the unknowns in the world, it can bring on a strange, existential panic, one that Upstream Color captures in a beautifully unnerving way.