Sporting an overly cutesy and clever-aspiring title that confounds as much as it explains, Expend4bles marks the fourth film in the long-in-the-tooth action franchise…
Sebastien Marnier’s latest breezy, twisty thriller The Origin of Evil may lack any deeper interrogation in its Agatha Christie-reinvention of deception, but its strong…
An indie horror film about a young woman trying to keep her inner beast at bay, it’s a testament to Jacqueline Castel’s My Animal…
Youssef Chebbi’s horror-tinged police procedural Ashkal (being released in the States officially as Ashkal: The Tunisian Investigation) begins with a brief explanation of The Gardens of…
In a rather brazen move, the third title card in the end credits of new horror flick Don’t Look Away reads as a dedication…
Ellie Foumbi’s Our Father, the Devil takes the broad, familiar strokes of the revenge drama and fashions them into something altogether more tragic. The…
In a recent think piece for Salon, critic Sam Adams asks “Where did all the hacks go?” He’s mainly talking about Disney’s penchant for…
Dead Shot opens in south Armagh, what the British soldiers call “Bandit Country,” in 1973 on a border ambush gone wrong. In pursuit of…
Genre filmmaking is in a weird place currently, and has been for a while now. Self-referentiality, endless didacticism, and an absence of any sense…
Cory Finely’s Landscape With Invisible Hand is an innocuous, flimsy little sci-fi movie, bandying about high concepts and reasonably detailed world-building but resolutely refusing…
Jared Moshé’s Aporia is a rare thing indeed: a high-concept, hard sci-fi head-scratcher that still feels human-scaled thanks to sensitive performances and focus on…
Hong Kong auteur Soi Cheang is a modern B-movie master whose works have dipped into an assortment of subgenres. Cheang’s aesthetic language is in…
For centuries, humanity has found ways to outsource certain aspects of childbirth, but these advances were mostly limited to wet nurses, surrogate pregnancies, and,…
The latest in Anno Hideaki’s reimagining of classic Japanese tokusatsu stories, following Shin Godzilla, Shin Ultraman, and — depending on how you look at…
Sympathy for the Devil rehearses a familiar thriller conceit that is unsurprising from the outset. It opens with the affable everyman protagonist, the Driver…
No doubt this has been said elsewhere already, but the most effective horror traffics in an unreality that’s very much tethered to our real…
Writer-director-indie provocateur Neil LaBute strikes again with Fear the Night, the filmmaker’s third feature in less than 12 months. This sudden ubiquity is either…
From the outset, writer-director Laurence Vannicelli’s Mother, May I? appears to contain little in the way of originality, a two-character chamber drama that is…