Just as the sun rarely sets in this place, Midsommar wears its audience down like they’ve been strapped under a giant heat lamp.
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With his follow-up movie, Us, Jordan Peele further proves that he’s the real deal, cementing his place one of modern filmmaking’s finest.
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Just when it looks like Happy Death Day 2U may run the risk of literally repeating itself, the screenplay flips the formula on its head and takes us to uncharted territory.
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In cinema one of the most engaging of elements is a filmmakers ability to provoke, to entice conversation, and have several likeminded people find themselves miles apart in their own interpretation of art, how we can all watch the same thing and yet each seem to watch something so different to the next. In that regard, Darren Aronofsky’s mother! is an astounding triumph, as a feature we can all attempt to decipher and deconstruct and yet seemingly get no closer to being ‘right ‘ for where…
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The Hunt is a bloody good time that taps into the zeitgeist while also tapping into our lust for over-the-top mayhem.
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Coming off the disappointment of Universal’s Dark Universe, The Invisible Man is a most welcome addition to the modern horror renaissance, as well as one of the year’s most pleasant surprises.
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Underwater is a serviceable sci-fi horror picture that could’ve excelled had it been made for a different medium.
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Despite not being as scary as Kubrick’s film, Doctor Sleep does effectively expand upon The Shining mythology without giving too much away.
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