thriller
A brave and ambitious film unafraid of wrestling with some very difficult questions, 7 Days In Entebbe is let down by an oddly-executed finale and dialogue that is clunky and expository a bit too often for comfort.
It may sound like exploitative torture porn, but Revenge introduces director Coralie Fargeat as a filmmaker worth your attention – taking problematic genre tropes and subverting them into a vital, exhilarating feminist film.
With a severe lack of thrills and a shortchanged main character, Breaking In fails in nearly every regard.
Inspired by Alice’s Adventures In Wonderland, Terminal is visually and thematically strong, despite its over-simple script and occasional over-acting – all in all a promising directorial debut for Vaughn Stein.
Truth Or Dare has nothing to offer to horror fans with its bland characters and uninspired concept. The only way you should be seeing this movie is on a dare.
Prodigy had potential, but unfortunately, the story was rushed into production instead of being allowed to marinate and be seasoned with time.
Director Adam MacDonald mostly succeeds with Pyewacket being a simple, heartfelt tale focusing on the disintegration of a mother/daughter bond, without too much background noise as a distraction.
In the latest of our Take Two series, we tackle Alien: Covenant, the Ridley Scott thriller that tried to balance science fiction with philosophical intrigue.
Steven Soderbergh’s Unsane easily fits within the category of exploitation cinema, but why were critics willing to overlook some of its questionable morals (or lack thereof)? Emily Wheeler takes a deeper look.
Though grounded by a strong presence in the young Madison Wolfe, I Kill Giants is often too dreary to be truly engaging, and too under-realized to be an immersive escape into a fantastical world.
A trio of staggering performances by Hawke, Seyfried, and Cedric the Entertainer, a gripping story that mines our current sociopolitical landscape for philosophical fodder, and typically formidable writing make First Reformed a mandatory watch for everyone.
Andy Nyman and Jeremy Dyson’s adaptation of their hit stage play Ghost Stories is a serviceable British horror – but with so many recent gems in the genre, is being “serviceable” enough to justify its existence?
Assuming cinema etiquette is still alive, the loudest sound that can be heard among A Quiet Place’s audience will be their own semi-breathing.
Tyler Perry’s latest directorial effort shows his tropes are continuing to wear thin, with no sign of improvement. To make things worse, he completely wastes the magnetic screen presence of Taraji P. Henson.
Gemini asks, in a city overflowing with people who want it all, when you’re famous, are you ever really safe?