Jean Luc Herbulot’s ‘Saloum’ is a story that feels both big (as in continent-spanning) and small (as in deeply personal) that can be compared to ‘From Dusk Till Dawn’ or ‘Predator’, but feels entirely unique.
Yeon Sang-Ho’s Hellbound presents a world where the line between Hell and Earth is paper thin, and the threat of being damned is real.
In Antoine Fuqua’s The Guilty, Jake Gyllenhaal presents a layered character whose inner turmoil bleeds into his duty and desire to help a desperate family, and in doing so, perhaps redeem himself.
Hannah Marks’ ‘Mark and Mary and Some Other People’ Gets It All Wrong
In Samantha Aldana’s ‘Shapeless’, Ivy knows her secret is destroying her, but she’s so good at keeping it. There’s always another snack to eat, and always another man to screw, as she and her body continue to betray each other.
Violent, grotesque, and dialogue-free, Phil Tippett’s ‘Mad God’ is the crowning achievement of a prolific career in visual effects.
‘False Positive’ has things to say about patriarchy, sure; but it also has something stark to say about the racism of affluent white liberals.
While all of Richard E. Bates Jr.’s other projects feature, in some way, a journey of reflection and self-actualization, King Knight may be the first to really achieve it.
Andrew Gaynord’s ‘All My Friends Hate Me’ has the allure of relatable anxiety.
Reviews of short films ‘David’ and ‘Liza Anonymous’ from Dorianne Emmerton (@headonist) at the 2021 Tribeca Film Festival!
In See For Me, Randall Okita and Skyler Davenport have managed to put a fresh face on the home invasion thriller, and have made a great stride for representation while doing so.
When your whole province is on literal fire and the DELTA variant (and the lesser-known LIGMA variant) is bringing COVID back to life to kill again like the last scene … Continue reading The Week in Horror: ‘[REC]’, TIFF Midnight Madness, ‘The Night Comes For Us’, + more!