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
Mortal exercises commendable ambition in its plot but is ultimately let down by a flat, dour execution; there’s something caught between its potential and its delivery, as if there’s some communication that’s been lost in the stages between the script and the
The unique and masterfully executed animation is worth the price of admission alone, but the thoughtful homage to classic monster movies and the frequent comedic injections make this a fun, albeit rough around the edges, spook show.
After their debut with 2012’s glorious low-budget mindfuck, Resolution, Justin Benson and Aaron Moorhead have been producing hit after hit, with their clever genre mashups that always keep the audience on its toes. With every release we can see them hone their
Back in 2018 (which feels like a lifetime ago), I became completely enamored with Jim Cummings’ feature debut, Thunder Road, a dry, dark comedy about a police officer slowly succumbing to his emotions after the death of his mother. Impeccably written and
Even though I was a rabid fan of horror as a youngster, I wasn’t allowed to watch the really heavy stuff as a kid, so I had to find as many kid-friendly scary movies as possible. Richard Greenberg’s Little Monsters from 1989
Reminiscent of 2016’s home-invasion thriller Don’t Breathe, David Charbonier and Justin Powell’s kidnap thriller The Boy Behind The Door is an undeniably suspenseful, albeit often misguided, story about two best friends fighting for survival after being abducted.