Spiderhead is a great Twilight Zone or Black Mirror scenario, only one that offers up a terrific idea, asks several fascinating questions, and then frustratingly doesn’t know how to reach a satisfying resolution.

“We love that in our movies you can find a subtext. You can find more things when you watch a second time.”
– Fernando González Gómez

The gleefully anarchic and exuberantly pitch-black The Passenger is a dangerously nasty horror comedy that got under my skin.

Crimes of the Future is a futuristically retro slice of body horror that left me speechless. It is a twisted descent into madness, refusing to coddle its audience or offer up a single happy ending. I wouldn’t have had it any other way.

A Die Hard clone set inside a top-secret military installation that’s the last line of defense against Russian nuclear aggression, high-octane actioner Interceptor is a waste of time.

Treasure of the Four Crowns is certifiably insane. It’s also spectacularly entertaining, reveling in its inherent madness so thoroughly that it’s impossible not to be impressed by all of the inventively deranged absurdity.

Emergency rages against the status quo with fiery imagination and shrewdly perceptive resolve, it’s screeching tires of revolution a clarion call of societal change viewers should take the time to listen to.

Maybe Firestarter is unadaptable?

The Sadness is one of the more aggressively bleak, disturbing, and depraved horror films I’ve ever seen. While I know that sounds like hyperbole, trust me when I say it is not.