A pitiless Midnight Madness title about demonic possession, the pressing questions going into a film like IFC’s When Evil Lurks really boil down to…
Director/cinematographer/co-writer Baatar Batsukh ends his new film Aberrance with a dedication to Darren Aronofsky, acknowledging the former indie darling/now-Academy Award-winning director’s influence on Batsukh’s…
Photography is the first sign that Soi Cheang’s Limbo is different from the director’s past work. Though his return to Hong Kong was bound…
One way to discuss the content era we find ourselves in is to frame “content” as the antithesis of true “art.” The latter serves…
Patricia Mazuy, now six films deep in a three-decade-plus career with Saturn Bowling, has always risked a certain, tantrum-centric filmmaking, favoring characters with shared…
Bishal Dutta’s It Lives Inside begins on an appropriately ominous note; the camera prowls down a dark hallway, blood-splattered on walls and bodies lying…
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…