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.
‘False Positive’ has things to say about patriarchy, sure; but it also has something stark to say about the racism of affluent white liberals.
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.
Writer-director Rose Glass’s Saint Maud is a remarkable effort and hopefully, a star-making project for all involved.
Kurtis Harder’s Spiral is a worthwhile watch for the carefully-considered genre take on trauma.
If you’re craving a fun film experience in these dark times, Psycho Goreman is exactly the tonic you need.
You Cannot Kill David Arquette is a deep dive into the actor’s search for redemption in an insular business in which he was never truly accepted, despite holding it’s most prestigious title.
What Lies Below is a horror-thriller that pulls you along in its wake despite the fact that some parts of the plot dissolve like salt in water.
Tales of the Uncanny is a deep dive into the horror anthology and the definitive word on the subject.
Topside is a grim but intimately-observed gem, one that Sachin Hingo cannot believe is a directorial debut from Celine Held and Logan George.
Madeline Sims-Fewer and Dusty Mancinelli’s Violation isn’t explicitly a horror film, but it’s grisly enough to be horror-adjacent.
The Curse of Audrey Earnshaw is an enchanting witch tale that doesn’t quite offer enough of a direction to pay off its intriguing groundwork.