There is a touching human dimension to The Vigil that brought tears to my eyes, the ghosts of past regrets and a refusal to allow grief-stricken wounds the time they need to heal the real villain hungering to feast on damaged souls crying out in continuous pain.

Cameron Crowe’s Elizabethtown has only gotten better with age, and I’m starting to think if it might actually be one of the writer-director stronger motion pictures.

“Nobody got cold feet about doing something super crazy, because you can’t go into something like this fearful.”
– Mike P. Nelson

I Care a Lot might be the most amoral pitch-black comedy-thriller I’ve seen this side of Joel and Ethan Coen’s Burn After Reading.

There is something to be said about the hopeful altitude to which Land attempts to ascend, battling an assortment of melodramatic platitudes and genre clichés as it does so.

Little Fish brings a refreshing aura of hope to what initially appears to be a situation entirely absent of it, making this love story a sterling reminder that little things can work miracles, and making authentic human connections – no matter how they occur – a priceless gift worth celebrating.

Supernova annihilated me.

But what The Funeral Home lacks in depth it more than makes up in style.

The Night has power, its unyieldingly disquieting unease a beauteous descent into a pitch-black psychological abyss from which there may be no escape.