thriller
Taxi Driver is a complex film in the way it presents a relatable character and then shows the increasingly erratic choices that he makes.
Despite some flaws, Suburbicon is still a riot of a good time, poking fun at the inherent obscurity of the American Dream in a unique way.
You Were Never Really Here is a rare film that is conclusive proof that a great director can elevate familiar source material.
Despite a strong premise, The Unraveling is a film that doesn’t quite go to that dark place that it should, with poor writing and acting.
Despite belonging in the overdone sub-genre of found footage, Hell House LLC manages to just stand out amongst the masses.
Happy Death Day is a fun slasher film that likens back to the slasher days of old, albeit with a Groundhog Day twist.
The Snowman, though with talent behind its production, ended up being an unfortunately jumbled and incoherent mess of a film.
Jackie Chan is in peak form in The Foreigner, and handily wins you over despite the film’s dated source material.
While not as memorable as other spy-thrillers, American Assassin is entertaining and solid enough with high intensity and relentless action.
Walking Out, by the Smith twins, is an unrelenting and beautifully shot story of a father and son surviving in the brutal Montana wilderness.
Mike Flanagan’s Gerald’s Game, though not quite as dark as its source material, still showcases his talent for immersive horror film-making.
At NYFF, the series calls Genre Stories contains a plethora of short films, from sci-fis to horror, and made from a diversity of backgrounds.
After spending three years in post-production purgatory, Friend Request arrives in US cinemas – and is certainly not worth the wait.
Blade Runner 2049 is a blockbuster with brains, heart and an abundance of style, that will certainly reward repeat viewings.
Brimstone had potential, but it is bogged down by its length and a desire to show an excessive amount of gratuitous violence against women.