thriller
Wasp Network’s bites off far more than it can chew, there’s no denying this all-star cast makes up for what is lost in plot.
Black Christmas is angry, terrifying, empowering even – all that surrounded with the threatening notes of holiday songs playing in the background and a stalker out to get you.
Lection has potential to be a thriller with political undertones, but feels more like a basic metaphorical statement thrown over the top of a slow-paced film.
The Good Liar features great performances from Ian McKellen and Helen Mirren, but the film can’t overcome other problems. Chris Cassingham reviews.
I See You is a well-crafted head-scratcher even if it doesn’t seem so at first.
While the film may lose a few along the way due to its drawn out pace, many will find themselves enthralled with what The Wolf Hour has to offer.
Not even the great acting of Brighton Sharbino or Will Patton can save Radioflash from its middling existence.
Michael Frank spoke with writer and director Adam Egypt Mortimer about the mental health, childhood and inspiration for his film Daniel Isn’t Real.
For all its faults, Knives Out is a brisk and often engaging film that will provide audiences a moderately enjoyable ride.
Generic in all the worst ways, Animal Among Us is poorly executed, feeling like a throwback to the worst of mid 2000’s horror.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
In a compassionate ending, the season wraps up with a happy ending for all, a rarity for American Horror Story.
While the tone, look and disturbing special effects will enthrall audiences in the beginning, Daniel Isn’t Real misses the mark in its third act.
Lorna Codrai looks at why 2006 was the most pivotal year of DiCaprio’s career, a year change him from a Prince to King of the World