thriller
Close is frustratingly shallow, and in its breakneck pace leaves some of its character development in the dust, while trying to wring every bit of emotion out of its quieter moments.
An Acceptable Loss opens with a big, burning question mark that hooks you, but rather than answering its core moral question, it simplifies the conversation.
A form of political agenda has been present in film since the dawn of cinem, with YA adaptations like Harry Potter and The Hunger Games influencing a new generation.
Blood Bound is a good film to watch if you’re looking for 98-minutes of chuckles and seat-squirming, but you’ll still be abundantly aware that it could’ve been a whole lot more.
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
The Pinch is occasionally funny, occasionally violent, and occasionally surprising, which makes for a just about passable watch.
All the Devil’s Men is a montage of cheap jokes and even cheaper action sequences, offering nothing new to the espionage genre.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
Anchored by a strong performance from Hermione Corfield, Rust Creek is a deceptively layered thriller that touches upon the horror in being a woman.
“A Midwinter’s Tale” was a solid episode, packed with holiday cheer, ill-willed entities, and potential demonic tragedies, making it one of the best in the series thus far.
It’s been ten years since massive AMC hit Breaking Bad took to the screens and masterminded its way into television history, and it hasn’t begun to lose its luster yet.
There are successful films buried within Bird Box, but it refuses to build any identity as a film beyond its concept.
Episode 10 brings Whittaker’s first Doctor Who season to a close, and after her first series of expeditions, it is clear that the writers have struggled to balance a female Doctor.
Kidman and Kusama work impeccably together in Destroyer to create an anti-heroine who can shoulder the weight of a familiar genre while rarely giving in to easy tropes.
For films such as Widows to succeed with their social messages, they need to present a novel story with a genuine message implanted into the infrastructure of the narrative.