mystery
How To Get Away With Murder’s “I Got Played” heightens both the drama and emotion in this solid, crucial episode.
With Slaughterhouse Rulez, it seems Simon Pegg and Nick Frost haven’t quite let go of the comedy/horror genre, only this time with a different director and with uneven results.
Monster Party is a quick, gory horror romp with a modern sensibility. It’s undoubtedly a bloody good time.
Despite some individually great moments, How To Get Away With Murder’s “We Can Find Him” doesn’t come together as strongly as hoped.
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?”
How To Get Away With Murder delivers its strongest episode of the season to date, a powerful hour that tightens its focus and propels us forward.
While the film possesses a level of craft and passion that cannot be ignored, Await Further Instructions is missing something vital: originality.
London Fields feels like it’s trying to accomplish too much, and as a result, accomplishes very little.
“It’s Her Kid” is another messy How To Get Away With Murder episode but at least it feels like we’re heading somewhere.
As a work of storytelling, Guadagnino’s reimagining of the canonical giallo is a boring mess with higher thematic aspirations than it’s able to realise.
How To Get Away With Murder’s case-of-the-week format will work for some but those welcoming of the more complex journey of yester-series will find the current set-up lacklustre at best.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
On the performances alone, Bad Times at the El Royale is worth your time and money, lending itself to justifiable reasons to revisit for multiple viewings.
Another decent episode of How To Get Away With Murder, “Whose Blood Is That?” continues to build a solid fifth season but it’s yet to match the series’ highs we’ve seen before.
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.