Not quite softcore exploitation horror but not quite a rallying feminist cry either, Sam Levinson’s femme-fatale-led piece fails to pull out all the stops as promised – mostly because it doesn’t seem to know where the stops are in the first place.
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True to its tagline, John Ajvide Lindqvist’s new screenplay is indeed “a love story unlike any other” in certain senses – but on the other side of the coin, it is a wholly predictable and often misguided whodunit thriller just like every other.
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Too many cooks spoil the broth, and so do too many clichés – May The Devil Take You is brilliant on occasion, but mostly plays out as an inane, muddled collection of multicultural jumpscare ideas connected by a thinly-drawn plot.
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Loaded with enough intrigue to make you think yourself into a corner, School’s Out ramps up the dread at every turn, up to its (literally) explosive climax.
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Carey Mulligan and Ed Oxenbould gamely shoulder the hefty emotional weight of Paul Dano’s directorial debut, supported by an underused but nonetheless brilliant Jake Gyllenhaal.
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1% marks the latest chapter in the subgenre commonly known as ‘ultra-violent Australian crime movie’.
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Andrei Zvyagintsev recently told The Guardian that ‘living in Russia is like being in a minefield’. If his latest film is any reflection of reality, then it’s safe to say that he was putting it mildly.
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Helene Cattet and Bruno Forzani are arguably the most controversial duo in horror. Famed for their mysterious, enigmatic forays into giallo – Amer and The Strange Colour of Your Body’s Tears – they’re the masters of sellable obscurity. Many have interpreted these pieces as hollow imitations of far more genuine works, or otherwise as meaningless…
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What is Foxtrot? Structurally, this thing is a marvel: Foxtrot does the foxtrot, as main character Joseph explains to his captive audience. 3 steps, and you return to the same place – or, rather, 3 very different acts bookended by the same scene. A lot of the surprises and finesse of the movie come from…
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Ross Lynch makes a promising first step into more mature cinematic territory with an astute portrayal of what makes a murderer.
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