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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At its best, Thanksgiving has the makings of a satirical horror classic in the vein of Scream. Other times, it settles for being an intentionally dumb B-movie.
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Five Nights at Freddy’s can feel late to the party.
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There’s no reason for The Exorcist: Believer to exist. Well, other than to justify the $400 million that Universal and Peacock paid for the franchise’s distribution rights.
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While the potential is present, there’s one major element that separates Alien from The Last Voyage of the Demeter: pacing.
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