With ‘Ready or Not 2: Here I Come’, Radio Silence has brought back several elements of the first film while expanding the scope. For fans of the original, it’s worth hunting down.
Sook-Yin Lee’s ‘Paying For It’ adapts Chester Brown’s graphic novel in an honest and authentic way while using her deft directing to explore unconventional relationships
Osgood Perkins’ latest, ‘Keeper’ feels like a couple of decent performances, mostly-cheap scares, and decent but confusing VFX in search of a story.
Hélène Cattet and Bruno Forzani’s ‘Reflection in a Dead Diamond’ favours style over substance. But it might be better for it.
The spirit of wrestling is alive in “Raging Midlife,” a movie about love, fandom, and an old shirt. Check out Jeffery X Martin’s review!
At just barely over an hour in length, Mickey Keating’s ‘Invader’ makes the most of every moment, every beat both explicit and implied, to craft a home invasion thriller as darkly memorable as it is terrifying.Â
Pedro Almodovar’s debut English feature ‘The Room Next Door’ explores death and dying through a colourful and complicated lens
It’s no monkey business to say that “Better Man” is a cautionary yet uplifting tale of one man’s desire to entertain the masses.
With a lot of overacting from virtually all involved, writer/director Robert Eggers’ “Nosferatu” is a gorgeous, unnecessary rehash of a familiar story.
Osgood Perkins ‘Longlegs’ bypasses mystery for inevitable dread in the most uncomfortable horror outing of the year so far.Â
Roxy Shih’s ‘Beacon’ is a gripping two-hander that deftly swirls together themes of distrust, survival, and cosmic horror, anchored by two outstanding performances by its leads Julia Goldani Telles and Demian Bichir.
Ally Pankiw’s I Used To Be Funny grapples with the aftermath of trauma, adding yet another layer to Rachel Sennott’s increasingly-diverse catalogue of roles.Â
