mystery
Beast is a gritty psychological-mystery with a brilliantly dark, pulsating and atmospheric heart, with an exceptional lead performance from Jessie Buckley. Michael Pearce delivers a brilliantly assured and confident feature-length directorial debut.
17 years after Super Troopers became a modest financial success and cult comedy favourite, Super Troopers 2 sees the characters return – and nothing substantial has changed in the intervening years, for better and for worse.
A Gentle Creature is a divisive film, too exaggerated to be a realistic condemnation of the corrupt bureaucracy it seeks to lampoon.
There are such a vast number of planes to appreciate Rear Window on and one…
Despite some promising moments, The Vanishing of Sidney Hall never quite reaches the level of its ambition, ultimately fading in the background amongst more prominent films about the art of writing.
Japanese director Hirokazu Kore-eda’s latest film The Third Murder is a complex, rewarding legal thriller that is a notable departure from his usual humanist approach to character studies.
Most Likely to Murder may not reinvent the wheel of holiday films, but its subversion of the genre, especially its willingness to fully indict and satirize its own protagonist, gives us ample reason to invest interest in the future of director Dan Gregor’s filmography.
Even though it promises a scary journey, Against the Night fails on all levels. The poorness of its plot, direction, and performances make this already short film more unbearable than it ought to be.
Red Sparrow is solidly engaging, a blistering and intense film with Jennifer Lawrence’s skill and Francis Lawrence’s well-crafted atmosphere.
Despite a hopeful change of pace for Jim Carrey, Dark Crimes doesn’t deliver, suffering from choppy editing, a lack of dynamic characters, and a generic murder mystery story.
The screenplays of A History of Violence and Rambo: First Blood share similarities in their stories, such as centering on violent men who are confronted by their past, and how each of them deal with this collision of their two worlds.
Chen Sicheng’s Detective Chinatown 2 is a manic pop-fuelled explosion of fast-paced crime-solving, fringe supernatural developments and a brash indulgence in outdated stereotypes.
Game Night is a visually memorable comedy, standing out by masterfully blending the absurdity of its comedy and the realistic problems of its central characters.
Mute is riddled with unoriginal elements, from the Blade Runner inspired visuals to the generic missing persons story, to the underdeveloped characters; it is a misfire on all accounts.
Dark River feels more like a transitional gateway to better films, bridging the gap between Clio Barnard’ older social realist efforts and flirtations with experimental works likely to come.