Maika Monroe
Overall, Longlegs is well-directed, artistically apt, and really, really suspenseful.
In pursuit of a serial killer, an FBI agent uncovers a series of occult clues that she must solve to end his terrifying killing spree.
As a serial killer stalks the city, a young actress who just moved to town with her boyfriend notices a mysterious stranger watching her.
Gripping and irresistible, The Stranger will have you holding your breath and on the edge of your seat until the final moments.
With standout and nuanced performances, Villains is one of the funniest horror films you will see in quite some time.
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
In I’m Not Here, a man struggles with the tragic memories of his past to make sense of his present, but soon realizes that time isn’t the enemy he thinks it is.
In Greta, a young woman (Chloë Grace Moretz) befriends a lonely widow (Isabelle Huppert).
The horror of the unknown, the horror of David, the horror of The Guest, all trace back to the simple question the film asks us and then leaves to fester: “Who is David Collins?”
Hot Summer Nights’ story is not adequately interesting to justify the legendary tone, and it winds up feeling anodyne when it should feel explosive.
Bokeh is a stripped down take on a dystopian apocalypse- and like the best sci-fi, offers a bleak commentary on modern society.
Independence Day came out when I was 14. I was a huge X-Files fan (I did a school project on Area 51) and so thought it was pretty much the greatest film ever. It was also at this time that I began to fall in love with movies, and Independence Day was part of that trend of 90’s summer blockbusters that opened my eyes to what contemporary cinema meant to a lot of people.
With the blockbuster success of Fifty Shades of Grey in cinemas worldwide, many pundits are claiming that this marks a new era for “sex positive” movies – and much more importantly, the basic idea of a woman being as sexually open as her male counterparts not being a source of cinematic shame, but one of pride. It has only been two decades since what I dub the “unofficial Michael Douglas misogyny trilogy” of Fatal Attraction, Basic Instinct and Disclosure hit cinemas, films that (like Fifty Shades) were successful due to their frankness of sexuality. Yet those movies were inherently misogynist in suggesting that women were mentally unstable, or just plain evil for daring to be as open about their sexuality as men.