Neither inventive enough to wow us, nor lovably dumb enough to cheekily win us over, The Meg winds up in a bland middle, at the intersection where the simplicity of giant sharks and the complexity of tentpole-budgeted film financing and risk assessment meet.
In their second feature after the wonderful Turbo Kid, filmmaking collective RKSS (Anouk Whissell, François Simard and Yoann-Karl Whissell) take us back to the ‘80s and hits our nostalgia bone hard with Summer of ’84, an homage to genre films from the best decade.
Caught in the reflection of a looming global conflict, the carefree souls that fill out Nobuhiko Obayashi’s unsurprisingly absurd and surreal latest waste away their last few months of innocence while the world and its war threaten to encroach on their idyllic
Playing out like a wonderful amalgamation of Spring Breakers, Ingrid Goes West and Fort Tilden, Augustine Frizzell’s Never Goin’ Back presents a gloriously trashy and uproariously raunchy comedy about two besties having the worst week ever.
Filmed in sterile monochrome, with an almost clinical restraint, The Forest of the Lost Souls strives to mask its chosen forest with an ethereal cloak that would hope to convince the viewer something abstruse was lurking behind its utterly mundane locale.
Sonny Mallhi’s Blumhouse-produced horror film Hurt is based on a true story, and he really wants you to remember that. Over and over you’ll be bombarded with people mentioning it and even see it written throughout the film, just in case you
The film is a remake, or “reimagining” as they’re calling it, of the film Ghost From the Machine AKA Phasma Ex Machina from Matt Osterman, and while I haven’t seen the original, I’m not sure what it was that begged this story to be remade only eight years later, as it’s a pretty standard supernatural horror film with few, if any, memorable moments.