thriller
Midnighters doesn’t ask too much from the audience. Respectfully, it knows what it is: a popcorn thriller with style and a bit of substance, enjoyable for anyone who likes a thriller in the Hitchc*ckian vein.
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.
With potent acting by Whitaker and Bana, relevant social commentary, adept writing and direction, The Forgiven succeeds as a biopic, albeit not Joffé’s finest effort.
Red Sparrow is solidly engaging, a blistering and intense film with Jennifer Lawrence’s skill and Francis Lawrence’s well-crafted atmosphere.
Watching Thoroughbreds, one is fully aware of the debt it owes to the similar films that came before it. But that doesn’t make it any less enjoyable to watch. Female friendship has never looked so deliciously dangerous.
Lead by a powerhouse cast and brilliant directorial debut, Allure challenges and leaves a significant trail of destruction in its wake.
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.
Death Wish is a victim of poor timing due to current public sentiment in regards to guns and violence, but its generic revenge story and wasted cast don’t much help matters either.
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.
Looking Glass wastes its talented cast on poor writing filled with cliché after cliché, an odd and uninviting artistic vision from the ground up, and an overabundance of narratives and plot devices.
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.
Unsane has been filmed with an iPhone, giving the picture a paranoia-fuelled low-fi fuzz. This is more than just a marketing gimmick, as Soderbergh’s film centers on the idea of stalking – a timely focal point considering the mass of sexual allegations that Hollywood has found itself mired in.
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.
Clint Eastwood’s The 15:17 to Paris has been largely trashed by critics. However, the director’s latest film is one of the most formalistically radical films to emerge in recent memory.