THE NIGHT Review
The Night is a slick — but ideologically empty — time-loop horror that drags on like its creepy premise.
The Night is a slick — but ideologically empty — time-loop horror that drags on like its creepy premise.
As our 2020 wrap-up kicks into gear, Chris couldn’t sit idly by and allow only ten of the best films this year get recognition so he decided to highlight 30 of his top titles.
The assassination of former heir apparent to the role of Supreme Leader of North Korea, Kim Jong-nam is probably the only time in the history of the world where the legal defense can be summaraized as, “It was just a prank, bro.”
The crime odyssey of Glen Summerford in the fall of 1991 is one of those “stranger than fiction” cases that accordingly has risen to the esteem of modern-day folklore in the Appalachians, where it had occurred.
Marred by uncertainties and spread through
76 Days is almost impossible to watch in these times. Which is what makes it so vital.
Consider the pink flamingo. Curved neck, hooked beak, penetrating yellow eyes and perched on one scrawny leg with the other securely tucked into its plumage, fashioning its signature pose.
For most, this striking bird is a brief object of amusement, possibly even
Like fellow Winnipeg weirdo before him, Guy Maddin, Matthew Rankin is quickly establishing a unique brand of surrealism for himself in the world of Canadian cinema. In his full-length feature debut, The Twentieth Century, the director applies his penchant for madcap and
Paul Leyden’s Chick Fight centers on an underground MMA fighting club wherein pressed-upon women who have been “trained by society to cry out their problems” can embrace their inner Amazonian and work it out on another woman’s face in the ring. The
Stop me if you have heard this one before: Nine friends from high school meet up in the middle of a dense forest for a reunion camping trip. Significantly grown apart, their drunken revelry is stained by their antagonism for one another,
In our fundamentally connected digital epoch, it is a challenge for the ache of missing someone to still resonate the way it used to, when that person is eternally at your fingertips. For the imminently spacebound astronaut Sarah (Eva Green), the pining
The Donut King is a fascinating story of the promises (and blunt realities) of the American dream for one Cambodian refugee.
Compounded by its unoriginal story beats, the film comes out feeling uninspired, outside of its impressive direction.
White Elephant is a story of a teen’s diasporic identity told through paltry means and a lack of focus.
Beyond the Night offers an engaging, psychosexual tug-of-war that’s torn from the pages of Bergman.
Fukushima 50 sees Japanese cinema address the Fukushima-Daiichi nuclear disaster in the most direct manner to date. It does not go well.
A lo-fi, lackadaisical, existential odyssey through the forest that embraces its weirdness with an absurd edge.