Jeffery X Martin calls the debut album from Envy of None “one of the best releases of the year so far.”
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.
Writer-director Rose Glass’s Saint Maud is a remarkable effort and hopefully, a star-making project for all involved.
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.
In Amelia Moses’ feature debut, Bleed With Me, big-time scares are traded for much more nuanced prods at her viewers’ comfort levels.
Dark Side of the Ring is hard to watch and will almost certainly leave you angry, confused, and heartbroken, but starts a necessary conversation about what led to, and resulted from, Chris Benoit’s unspeakable act.
Zombie Army 4 is a great package that is worth your time and money if you’re at all into this sort of thing.
Elisabeth Moss turns in a career-best performance in Leah Whannell’s The Invisible Man.
It came from space and ate our brains packs a lot into a small, affordable package.
Projects like Alexandra Serio’s Tingle Monsters are a reason why Final Girls and other festivals that specifically give women and non-binary filmmakers a platform are so important.
Carlo Mirabella-Davis’s thriller Swallow is a twisted cake that never feels regurgitated from other genre projects
Isa Mazzei’s memoir seeks to crush the preconceived notions and assumptions that many people have about the sex industry.