Until The Wheels Come Off is a fresh look at one of the most taxing long-distance competitions on the planet, the athletic endeavour of long-distance cycling, and more importantly, is the story of how the relationships we build can carry us to lengths that even we didn’t think we could achieve.
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.