2010s
It is a shame when a movie like Hell Fest this is let down by the very reason for its existence – a slasher movie is only as strong as its slasher and the fear that slasher creates.
The Ballad of Buster Scruggs is some of the Coens’ best work: the storytelling is so delicate and precise, like a beautiful poem squeezed of every superfluous word.
Hanna Fidell and co-writer Carson Mell accomplished a feat rarely seen with The Long Dumb Road, a believable wacky comedy.
The Grief of Others examines how time can only heal wounds if we let it through intentionality and a sense of vulnerability that can be simultaneously scary and painful.
DriverX is a memorable character study, managing to capture the beauty of a city at night, while exploring generational differences and self-discovery.
A Bread Factory may be dispiriting, but it’s a vital reminder to preserve community spaces, and form connections with those who appreciate the arts.
Izzy Gets the Fuck Across Town is a fever pitch of impetuous energy with an extortionate fervor that matches Izzy’s note for note as she embarks on this most-unorthodox road trip.
Mirai may feel more like a series of vignettes thrown together rather than a cohesive whole, but Hosoda’s wondrous animation style, coupled with a personal look at family dynamics, makes it hard to resist.
Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that zigs when we expect it to zag.
A Bread Factory is a sprawling epic with an intimate touch, which perfectly articulates why community art spaces are necessary in the modern world.
Director David Gleeson constructs a haunting but picturesque film with Don’t Go, a sci-fi about grief and loss.
Cam may not be the full blooded horror its festival hype suggests, but it’s an involving glance at an online world through an unnerving lens.
Write When You Get Work can be sweet, and there are semblances of earnest intentions, but overall it feels tame.
While the Doctor and her gang save the day once again, “Kerblam!” plays with the subconscious fear of technology in the workplace, and its ability to take on tasks previously carried out by humans.
A slow-burner, The Clovehitch Killer toys with your mind, leaving you to question what you already know to be true.