serial killer
Despite some technical hiccups and the extremely low budget, Hunter’s Weekend is a well-made movie with a fascinating and very current angle on masculinity.
The Clovehitch Killer is a creepy coming-of-age serial killer noir with a well-written script, three-dimensional characters and a career performance by Dylan McDermott.
A slow-burner, The Clovehitch Killer toys with your mind, leaving you to question what you already know to be true.
Aided by a stellar central performance from Matt Dillon, The House That Jack Built is an unforgettable, uncomfortable nightmare, and one of the few films of the current age that more than lives up to its transgressive billing.
First, you’ll laugh at nonsensical crime thriller Hangman – and then, you’ll grow annoyed that this actually got made over better projects.
As I flip through my senior year high school yearbook, I see the familiar faces…
Predictable and boring, Leatherface fails to give viewers and fans of the franchise a gripping, riveting, startling movie on how a serial killer family is born.
Creep 2 takes the comedy and emotional performances of its predecessor to create something entirely new and unique.
The Limehouse Golem finds ways to toy with you at every turn, making it entertaining viewing despite its seemingly conventional premise.
Sure, it’s a terrible film, yet Silent Night, Deadly Night 2 has elements to make it an entertaining cult classic in the making.
For a horror sub-genre that is frequently criticised for misogynist overtones, it is surprising how many gothic filmmakers haven’t combined the LGBT themes inherent in horror with the rampant violence of slasher film more frequently before. You’re Killing Me is a horror-comedy that puts the emphasis on the comedic elements, its many detours into slasher film never feeling either shocking or as amusing as the film around them. But it is unique for a film in this sub-genre to remove any subtext about societal fears among gay people in contemporary society and just make a straightforward horror-comedy with no deeper thematic resonance.
The Voices, the English language debut of French-Iranian director Marjane Satrapi, unarguably gives Ryan Reynolds the best acting role of his career. Sadly, his gleefully maniacal performance is the sole positive – and that is most likely due to the lack of interesting roles he’s been given throughout his career that make this performance stand out in comparison. The character he’s playing is badly devised and written, yet Reynolds somehow manages to make the character compelling.
Even though I may make it look like any idiot can do it, writing reviews is far from easy. The hardest things to review aren’t the plot-heavy science fiction movies or the obscure art house efforts with impenetrable plots like you would imagine – the most difficult movies to review are the films that are just plain boring. I watched Child 44 two days ago, where I made up 100% of the audience for that screening – in the two days since, I have found myself struggling to remember quite a lot of it.
What do Fleetwood Mac, surgical mutilation and a delightfully chubby Haley Joel Osment have in common? Along with a recurring erotic nightmare of mine, Kevin Smith’s new film Tusk. Based on an episode of Smith’s long-running “SModcast,” Tusk tells the story of podcaster Wallace Bryton (Justin Long) who embarks into Manitoba on a quest for new material.