“Sometimes it was overwhelming in all the best of ways. There was just so much possibility. When you’re just in the zone and in there with your camera, you have to take the opportunity to trust your eye as a filmmaker.”
– Olympic Dreams director Jeremy Teicher

The Invisible Man is next-level stuff that signifies his arrival as a talented storyteller who has an innate ability to take seemingly tired concepts and ideas and make them feel original and contemporary.

Pet Sematary II is nuts.

Brahms: The Boy II is a lazy sequel.

The Call of the Wild proved to be an outdoor adventure worth going on, and I can’t help but think my 10-year-old self would have seen this in the theatre a good half-dozen times if my parents would have permitted me to do so.

The Lodge is powerfully haunting stuff, things building to a climactic turn of events that are as shocking as they are in some ways equally warranted.

The final third is a massive disaster that’s bewildering in its narrative ineptitude, and as I sat there in the theatre I was dumbfounded how those involved with Fantasy Island thought any of this was a going to play even reasonably well with a paying audience.

VFW is a cracking thriller, its pulse-pounding theatrics making this an agreeably bruising good time I loved every single gosh darn blood-soaked second of.

I cannot get angry or feel let down by what Downhill is not (most obviously that it isn’t as deep or as profound as Force Majeure was). I can only judge the film for what it actually is, and on that front I think Faxon and Rash have done a reasonably nice job.