Antlers proves to be a visceral nightmare in which fantasy and reality collide and become one, while Cooper satiates my appetite for intelligently haunting terror with delectable aplomb.
The beat just felt a little off, and I can’t say I think that’s going to change if I were to give Last Night in Soho a second chance to win me over in the future.
Night Teeth is Collateral with fangs by way of Stephenie Meyer and, surprisingly enough, I don’t mean any of that as a negative.
This Dune, for all its technical virtuosity, is stranded in an emotionally barren desert.
Ron’s Gone Wrong’s points are seldom made with any certainty, and everything builds to a strange conclusion that comes perilously close to being the literal definition of “mixed messaging.”
Hansen-Løve twists Bergman Island into a circular pretzel during the climax, and I loved seeing how all her seemingly disconnected themes and plot strands suddenly came together into one with such rhapsodic ease.
Halloween Kills knows how to jolt an audience into fits of giggly yelps of fright, and watching this iconic villain do his thing with such calmly calculated ferocity is oftentimes bone-chilling.
Valdimar Jóhannsson’s feature-length debut Lamb is one of the more captivatingly daft, yet oddly heartbreaking, motion pictures I’ve seen this year.
No Time to Die was well worth the wait.