The Mortuary Collection is a dark diamond in the rough of this year’s Fantasia so far, a canny ode to horror history that pays respect to its elders without appearing dated or derivative.
La Llorona’s deepest horrors flow from real history, from the atrocities inflicted by powerful men and the institutions established to ensure they get away with it.
The Rental chugs along predictable genre rails, its characters settling into the expected “types” as screws are gradually turned on them by whoever’s surveilling from a distance.
Sharp, simple, and well-attuned to the hopelessly grim tenor of these past few years, The Beach House knows how doomed we all are, says we deserve it, and prays that, after the tide comes in to wash us out, the rest will be left to flourish.
My mind is busy considering the presence of two distinctly engrossing thrillers of sex and violence set within the adult film industry, one a vividly romantic neo-giallo fairy tale, the other a discomfiting, tragicomic spiral into murder and depravity.
A B-movie par excellence, Greta’s the kind of unhinged and yet fiendishly well-calibrated genre fare that rarely gets afforded the attentions of a director as accomplished as Neil Jordan.
What’s a band of re-orphaned misfits to do? Dance away the pain, obviously.
M. Night Shyamalan turns the trilogy topper he needed to make after Unbreakable and Split into a preposterous group therapy session.
Pledge is Daniel Robbins’ third film, and his first really good one.
We need Blindspotting. It’s an eye-opening, indispensable film, and the year’s crowning artistic achievement.