There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve seen…
The Last Thing Mary Saw is sedate bit of moody horror that takes an array of cinematic reference points and flattens them until there’s little…
Shattered is a sleazy erotic thriller knockoff, one that never realizes its camp potential but which boasts a few poor-taste pleasures along the way. Hidden within…
Although it doesn’t quite stick the landing, See For Me is still a precise, no-frills genre exercise that makes the most of its limited budget and…
There’s plenty to admire in The Novice, but a surfeit of ambition and an overreliance on certain aggressive formal qualities bogs down its execution. Drawing…
The Scary of Sixty-First is an incredibly engaging piece of camp in the narrative form of classic paranoia-thrillers. Recently, while on my way to lunch with…
The Last Son is ill-conceived and one-dimensional, yet another bid at mining a the Western mythos that trades only in outmoded tropes and iconography. Playing like…
Mickey Reece makes idiosyncratic, uncategorizable films, chamber horror Agnes is his best film to date. Prolific Oklahoma underground filmmaker Mickey Reece is out there blowing up everyone’s…
Castle Falls isn’t the DTV flick of the year that it’s inspired pairing teases, but its a solid little actioner that doesn’t overstay its welcome. DTV…
Silent Night is more holiday punishment than gift. Featuring a floor-to-ceiling stacked cast and a festive setting and title, one might assume that Silent Night, the…
There’s a potentially great movie buried in Encounter, one that Pearce scuttles in service of a high concept that goes mostly nowhere. Riz Ahmed has…
Black Friday comes loaded with potential, but ends up roughly as enjoyable as visiting a Wal-Mart on the titular holiday. Casey Tebo’s Black Friday, a horror-comedy…
The Feast is a fine feature debut for Jones, building an effectively eerie tone and supporting it with lovely compositions and gnarly inserts. Lee Haven Jones’…
Night Raiders teases a unique dystopian setup, and then fails to meaningfully develop any of its promising parts. In a millennium overstuffed with dystopian presentations, it’s…
Hell Hath No Fury is something of a departure for Jesse V. Johnson, but the director once again delivers a tough, kinetic actioner, here aided by…
Anonymous Animals is repetitive, unimaginitive, and facile in boths its ideas and images. Anonymous, indeed. If, for some misguided reason, you feel the need to create…
One Shot employs its titular gimmick to no discernible value, but its actioner bona fides offer top-notch DTV thrills. Over the course of the last decade…
Ida Red is wholly derivative and overstuffed with subplots, but also delivers a lot of grimy, gonzo actioner fun. Writer-director John Swab has a few C-level…
The Deep House is a claustrophobic, otherworldly bit of throwback horror that welcomingly pivots away from modern, flattened genre sensibilities. Forget indie insufferability: it seems vogue…
Antlers is a competently made but shallow horror effort, slathered in trauma-heavy metaphor and a questionable abuse narrative. Writing about new horror movies can sometimes feel…