NYAFF 2019: THE ODD FAMILY: ZOMBIE FOR SALE
A fresh take on the tired zombie formula, played with enjoyable farcicality by a standout cast, makes The Odd Family: Zombie for Sale an absurdist delight.
A fresh take on the tired zombie formula, played with enjoyable farcicality by a standout cast, makes The Odd Family: Zombie for Sale an absurdist delight.
By exploring the small overlaps between, and coincidences among, the stories of complete strangers, Jam fails to become as good as the sum of its parts.
Trespassers is the type of movie that will anger more than entertain.
While the script is a bit on the sparse side, The Loveless additionally showcases some incredible talent behind the camera with Bigelow and Montgomery’s direction.
Full of gratuitous eye candy, White Snake is a derivative exercise that wrongly believes overloading itself with style and action can sustain yet another take on the ancient Chinese legend.
Bolstered by its strong performances from Yoon-seok and Ji-hoon, Dark Figure of Crime is an enthralling and well crafted true-crime thriller.
Sporadic and disheveled, The Fatal Raid is a film without a voice that throws everything at the screen with no discernible structure.
Violence Voyager remains a disturbing bait and switch of gory delights for all who can stomach it.
Walk With Me just misses the mark in being an effective and thought-provoking thriller that perhaps would have benefitted from a tighter script and different editing choices.
While trying to sell you on the maverick, anarchist sensibilities of its central subjects, Dare to Stop Us slots itself into standardized yet serviceable biopic formula.
Stuber is a film that has a lot going for it, but suffers from a script that doesn’t seem to know how to handle the comedic talent it contains.
Packed to the brim with an overwhelming amount of music, John A. Alonzo’s comedy FM plays like the Baby-Boomer version of Rock ‘n’ Roll High School (released a year later), though it carries only a fraction of the same energy.
Not even the inclusion of a robot could invigorate the stale, self-pitying lowlife comedy, HARD-CORE, into anything endearing.
Although uneven in certain spots, this period piece from director Bernard Rose, known for his horror classic Candyman, is an entertaining if not slightly underwhelming look at an interesting piece of history.
Beautiful, devastating and thoroughly unpleasant, Midsommar is destined to become a horror classic, one that we discuss and break apart for years to come.
Child’s Play is a film that’s acutely aware of what it is and delivers.